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In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture.","avatar":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g","twitter":"raemondjjjj","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["editor"]},{"site":"bayareabites","roles":["editor"]},{"site":"science","roles":["editor"]}],"headData":{"title":"Rae Alexandra | KQED","description":"Staff Writer","ogImgSrc":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ralexandra"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13954104":{"type":"posts","id":"arts_13954104","meta":{"index":"posts_1591205157","site":"arts","id":"13954104","score":null,"sort":[1710442697000]},"guestAuthors":[],"slug":"anthony-hopkins-johnny-flynn-find-poignant-synergy-in-real-life-war-tale-one-life","title":"Anthony Hopkins, Johnny Flynn Find Poignant Synergy in Real-Life War Tale ‘One Life’","publishDate":1710442697,"format":"standard","headTitle":"Anthony Hopkins, Johnny Flynn Find Poignant Synergy in Real-Life War Tale ‘One Life’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>By the time Nicholas Winton died in 2015 at the ripe age of 106, the former London stockbroker and self-proclaimed “ordinary man” had been widely recognized for his extraordinary deeds — rescuing 669 Jewish children from the Nazis, saving them from certain death.\u003c/p>\n\u003cp>But for most of his life, Winton’s rescue of those children from Czechoslovakia on the eve of World War II, bringing them to safety in Britain, was unknown to the public. His story was revealed dramatically on the BBC show \u003cem>That’s Life!\u003c/em> in 1988, which introduced him, in an emotional surprise, to some of the very people he’d saved. Tears were shed and a fuss was made over this unfussy man. He was dubbed the “British Schindler,” and knighted by Queen Elizabeth II in 2003.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6_nFuJAF5F0\u003c/p>\n\u003cp>Even if you didn’t know Anthony Hopkins was starring in \u003cem>One Life\u003c/em>, the straightforward yet still moving new drama based on Winton’s tale, you’d be forgiven for assuming it the minute you learned Winton was a modest and quiet elderly man, keeping much to himself. Hopkins can play such a character in his sleep.\u003c/p>\n\u003cp>What he’s truly great at, though, is that moment when he finally lets the wall around him crumble and shows what he’s been feeling all along. Yes, this happens in \u003cem>One Life\u003c/em>, and yes, you’ll likely be wiping tears along with him. The emotional payoff takes a while to arrive, but once it does in the last act of this film, you’ll have a hard time forgetting Hopkins’ face.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Holocaust-themed movies are crucial but notoriously tricky ventures. At Sunday’s Oscars, Jonathan Glazer’s \u003cem>The Zone of Interest\u003c/em> was honored for a hugely inventive approach, illustrating the banality of Nazi evil in its chilling portrayal of an Auschwitz commandant’s family life right outside the camp wall. \u003cem>One Life\u003c/em>, directed with efficiency by James Hawes, takes a much more traditional approach, telling its story in flashback with dialogue that sometimes borders on the overly expository, but with a lovely cast and a story that begs to be told.\u003c/p>\n\u003cp>[aside postid='arts_13929913']Hopkins is the key draw, but Johnny Flynn, the talented actor-musician, has the difficult task of channeling Hopkins as a younger man (the filmmakers chose to shoot the Hopkins scenes first, so that Flynn could then build the connective tissue between the two, something he does admirably.) And it’s a lot more than 50 years that separate the two versions of Winton. It’s the war itself. The events with younger Winton took place in 1939, as the Nazis were marching across Europe but two years before they began implementing their so-called Final Solution, the mass murder of European Jews. The elder Winton knew exactly what became of all those children he couldn’t bring to safety, and you can see it in his eyes here.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P9G-PA1oMPI\u003c/p>\n\u003cp>We first meet the elder Winton at home in Maidenhead, a town in southeast England. It’s 1987, and he’s staring at faded photos of children from the war. He spends his days involved in local charity work. He can’t seem to get rid of all the clutter in his study, despite the pleadings of his wife, Grete (Lena Olin), who tells him: “You have to let go, for your own sake.” He’s still trying to figure out what to do with a frayed leather briefcase, which contains a precious scrapbook full of war memories.\u003c/p>\n\u003cp>[aside postid='arts_13953524']We flash back to 1939 London, when 29-year-old Nicky, as he’s known, who is of Jewish descent but has been raised as a Christian, resolves to leave the comfortable home he lives in with his mother, Babi (Helena Bonham Carter), to travel to Prague. He aims to help with the growing crisis caused by the influx of refugees from the Sudetenland region just annexed by Germany; he and others fear (correctly) that the Nazis will soon invade and send the Jewish refugees to camps.\u003c/p>\n\u003cp>In Prague, he finds desperate families and starving children, like a 12-year-old girl caring for an infant who has lost its parents. “We have to move the children,” he tells his colleagues. They say the task is too daunting. He persists, convincing a local rabbi to give him lists of children to begin the process (“I’m putting their lives in your hands,” the rabbi tells him.) Upon his return to London, aided by his spirited mother, he embarks on a furious race against time and government bureaucracy to obtain visas for the children and raise awareness in the media. “The process takes time,” an official says. “We don’t have time,” he replies.\u003c/p>\n\u003cp>Somehow, he manages to get the transports going, meeting the trains in London, where children are matched with foster families. (The most moving scenes in the film, until the emotional crescendo at the end, are departure scenes in Prague, with children saying goodbye to parents who must surely sense they’ll never see them again).\u003c/p>\n\u003cp>[aside postid='arts_13953601']As the film toggles between 1939 and 1987-88, we learn that Winton managed to get eight trains of children out but not a ninth, with 250 children who were turned back once the Nazis invaded, a loss he keeps buried inside. That is, until he meets a Holocaust researcher who happens to be married to news magnate Robert Maxwell.\u003c/p>\n\u003cp>That meeting ultimately leads to the climax in the television studio, faithfully recreated by Hawes, who actually once worked on that very BBC show. The scene is doubly poignant given the knowledge that some of the background actors in the studio that day were actual family members of those Winton saved. “There was not a dry eye on the set floor,” the director has said.\u003c/p>\n\u003cp>That’s not difficult to believe.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘One Life’ is released nationwide on March 15, 2024.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A new movie memorializes Nicholas Winton, a British man who rescued 669 Jewish children from the Nazis in 1939.","status":"publish","parent":0,"modified":1710442697,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1047},"headData":{"title":"‘One Life’ Review: Anthony Hopkins’ Biopic of Sir Nicholas Winton | KQED","description":"A new movie memorializes Nicholas Winton, a British man who rescued 669 Jewish children from the Nazis in 1939.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"‘One Life’ Review: Anthony Hopkins’ Biopic of Sir Nicholas Winton%%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Anthony Hopkins, Johnny Flynn Find Poignant Synergy in Real-Life War Tale ‘One Life’","datePublished":"2024-03-14T18:58:17.000Z","dateModified":"2024-03-14T18:58:17.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Jocelyn Noveck, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13954104/anthony-hopkins-johnny-flynn-find-poignant-synergy-in-real-life-war-tale-one-life","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>By the time Nicholas Winton died in 2015 at the ripe age of 106, the former London stockbroker and self-proclaimed “ordinary man” had been widely recognized for his extraordinary deeds — rescuing 669 Jewish children from the Nazis, saving them from certain death.\u003c/p>\n\u003cp>But for most of his life, Winton’s rescue of those children from Czechoslovakia on the eve of World War II, bringing them to safety in Britain, was unknown to the public. His story was revealed dramatically on the BBC show \u003cem>That’s Life!\u003c/em> in 1988, which introduced him, in an emotional surprise, to some of the very people he’d saved. Tears were shed and a fuss was made over this unfussy man. He was dubbed the “British Schindler,” and knighted by Queen Elizabeth II in 2003.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6_nFuJAF5F0'\n title='//www.youtube.com/embed/6_nFuJAF5F0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Even if you didn’t know Anthony Hopkins was starring in \u003cem>One Life\u003c/em>, the straightforward yet still moving new drama based on Winton’s tale, you’d be forgiven for assuming it the minute you learned Winton was a modest and quiet elderly man, keeping much to himself. Hopkins can play such a character in his sleep.\u003c/p>\n\u003cp>What he’s truly great at, though, is that moment when he finally lets the wall around him crumble and shows what he’s been feeling all along. Yes, this happens in \u003cem>One Life\u003c/em>, and yes, you’ll likely be wiping tears along with him. The emotional payoff takes a while to arrive, but once it does in the last act of this film, you’ll have a hard time forgetting Hopkins’ face.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Holocaust-themed movies are crucial but notoriously tricky ventures. At Sunday’s Oscars, Jonathan Glazer’s \u003cem>The Zone of Interest\u003c/em> was honored for a hugely inventive approach, illustrating the banality of Nazi evil in its chilling portrayal of an Auschwitz commandant’s family life right outside the camp wall. \u003cem>One Life\u003c/em>, directed with efficiency by James Hawes, takes a much more traditional approach, telling its story in flashback with dialogue that sometimes borders on the overly expository, but with a lovely cast and a story that begs to be told.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13929913","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Hopkins is the key draw, but Johnny Flynn, the talented actor-musician, has the difficult task of channeling Hopkins as a younger man (the filmmakers chose to shoot the Hopkins scenes first, so that Flynn could then build the connective tissue between the two, something he does admirably.) And it’s a lot more than 50 years that separate the two versions of Winton. It’s the war itself. The events with younger Winton took place in 1939, as the Nazis were marching across Europe but two years before they began implementing their so-called Final Solution, the mass murder of European Jews. The elder Winton knew exactly what became of all those children he couldn’t bring to safety, and you can see it in his eyes here.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/P9G-PA1oMPI'\n title='//www.youtube.com/embed/P9G-PA1oMPI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We first meet the elder Winton at home in Maidenhead, a town in southeast England. It’s 1987, and he’s staring at faded photos of children from the war. He spends his days involved in local charity work. He can’t seem to get rid of all the clutter in his study, despite the pleadings of his wife, Grete (Lena Olin), who tells him: “You have to let go, for your own sake.” He’s still trying to figure out what to do with a frayed leather briefcase, which contains a precious scrapbook full of war memories.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953524","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>We flash back to 1939 London, when 29-year-old Nicky, as he’s known, who is of Jewish descent but has been raised as a Christian, resolves to leave the comfortable home he lives in with his mother, Babi (Helena Bonham Carter), to travel to Prague. He aims to help with the growing crisis caused by the influx of refugees from the Sudetenland region just annexed by Germany; he and others fear (correctly) that the Nazis will soon invade and send the Jewish refugees to camps.\u003c/p>\n\u003cp>In Prague, he finds desperate families and starving children, like a 12-year-old girl caring for an infant who has lost its parents. “We have to move the children,” he tells his colleagues. They say the task is too daunting. He persists, convincing a local rabbi to give him lists of children to begin the process (“I’m putting their lives in your hands,” the rabbi tells him.) Upon his return to London, aided by his spirited mother, he embarks on a furious race against time and government bureaucracy to obtain visas for the children and raise awareness in the media. “The process takes time,” an official says. “We don’t have time,” he replies.\u003c/p>\n\u003cp>Somehow, he manages to get the transports going, meeting the trains in London, where children are matched with foster families. (The most moving scenes in the film, until the emotional crescendo at the end, are departure scenes in Prague, with children saying goodbye to parents who must surely sense they’ll never see them again).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953601","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>As the film toggles between 1939 and 1987-88, we learn that Winton managed to get eight trains of children out but not a ninth, with 250 children who were turned back once the Nazis invaded, a loss he keeps buried inside. That is, until he meets a Holocaust researcher who happens to be married to news magnate Robert Maxwell.\u003c/p>\n\u003cp>That meeting ultimately leads to the climax in the television studio, faithfully recreated by Hawes, who actually once worked on that very BBC show. The scene is doubly poignant given the knowledge that some of the background actors in the studio that day were actual family members of those Winton saved. “There was not a dry eye on the set floor,” the director has said.\u003c/p>\n\u003cp>That’s not difficult to believe.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘One Life’ is released nationwide on March 15, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954104/anthony-hopkins-johnny-flynn-find-poignant-synergy-in-real-life-war-tale-one-life","authors":["byline_arts_13954104"],"categories":["arts_1","arts_7862","arts_74"],"tags":["arts_769","arts_585","arts_5292","arts_3038"],"featImg":"arts_13954105","label":"arts"},"arts_13951067":{"type":"posts","id":"arts_13951067","meta":{"index":"posts_1591205157","site":"arts","id":"13951067","score":null,"sort":[1706298701000]},"guestAuthors":[],"slug":"masters-of-the-air-spielberg-tom-hanks-world-war-ii-series-appletv","title":"Spielberg and Hanks Soar Into World War II Skies in ‘Masters of the Air’","publishDate":1706298701,"format":"aside","headTitle":"Spielberg and Hanks Soar Into World War II Skies in ‘Masters of the Air’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cfigure id=\"attachment_13951072\" class=\"wp-caption aligncenter\" style=\"max-width: 1570px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951072\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM.png\" alt=\"Close up of two 1940s-era pilots stand on the tarmac under blue skies.\" width=\"1570\" height=\"1060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM.png 1570w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-800x540.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-1020x689.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-768x519.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-1536x1037.png 1536w\" sizes=\"(max-width: 1570px) 100vw, 1570px\">\u003cfigcaption class=\"wp-caption-text\">Austin Butler and Callum Turner in ‘Masters of the Air.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1990s,\u003ca href=\"https://www.npr.org/2022/11/09/1134314093/steven-spielberg-fabelmans\"> Steven Spielberg\u003c/a> directed two unforgettably powerful films about World War II: \u003cem>Schindler’s List\u003c/em>, in 1993, and \u003cem>Saving Private Ryan\u003c/em>, in 1998. \u003cem>Saving Private Ryan \u003c/em>starred \u003ca href=\"https://www.npr.org/2016/04/26/475573489/tom-hanks-says-self-doubt-is-a-high-wire-act-that-we-all-walk\">Tom Hanks\u003c/a>, and Hanks and Spielberg weren’t through with their obsession with World War II dramas; they were just beginning.\u003c/p>\n\u003cp>[aside postid='arts_13950974']Teaming with Gary Goetzman, they produced two impressive, captivating HBO miniseries about World War II: \u003cem>Band of Brothers, \u003c/em>in 2001, followed nine years later by \u003ca href=\"https://www.npr.org/2010/03/11/124499816/hanks-spielberg-strike-out-for-the-pacific\">\u003cem>The Pacific\u003c/em>\u003c/a>\u003cem>.\u003c/em> Both miniseries did what \u003cem>Saving Private Ryan \u003c/em>also had accomplished so brilliantly: They allowed the audience to experience the intensity and brutality of wartime. Not just allowed us, but forced us, in unrelenting battle sequences that gave new meaning to the phrase “you are there.”\u003c/p>\n\u003cp>Those dramas also delivered large helpings of surprise, and of loss. We got to know, and care deeply about, their soldiers and marines — and then, without warning, many of them were taken away from us.\u003c/p>\n\u003cp>\u003cem>Masters of the Air\u003c/em> is the newest entry in this World War II project by Spielberg, Hanks and company. It’s every bit equal to, and boasts precisely the same strengths as, those previous offerings. It’s presented by Apple TV+ this time, rolled out weekly after the Jan. 26 two-episode premiere. And because \u003cem>Masters of the Air\u003c/em>, like \u003cem>Band of Brothers\u003c/em> and \u003cem>The Pacific,\u003c/em> is a limited miniseries, even the main characters are at risk of dying at any time — and some do.\u003c/p>\n\u003cp>Two of the primary characters share a similar nickname — a confusing gimmick that’s explained early on. There’s Gale “Buck” Cleven, played by Austin Butler, and John “Bucky” Egan, played by Callum Turner. Bucky had the nickname first, and gave the shorter name, “Buck,” to his friend just to annoy him — until it stuck. Bucky is a loudmouth hothead; Buck is more quiet and private. But they’re good friends, and great pilots.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Butler empowers Buck with the undeniable charisma of an old-fashioned movie star, like a bomber pilot-James Dean. Butler’s breakout starring role was as Elvis Presley in \u003ca href=\"https://www.npr.org/2022/06/23/1106734497/elvis-review-baz-luhrmann\">\u003cem>Elvis\u003c/em>\u003c/a>\u003cem>,\u003c/em> and here, even without the trappings of show-biz flash and glitz, he’s just as magnetic.\u003c/p>\n\u003cp>But Butler’s not carrying this story, or fighting this war, alone. Turner’s Bucky matches him throughout — and so does Anthony Boyle, who plays a young navigator named Harry Crosby. And a lot more players contribute greatly: This is a large cast, doing justice to a very big story.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lA-1JCRguZ0\u003c/p>\n\u003cp>\u003cem>Masters of the Air \u003c/em>is based on the book by Donald L. Miller. Several talented directors traded off working on various episodes, but all were adapted for TV by screenwriter John Orloff. His narrative not only follows the leading characters during World War II, but makes time, over its nine episodes, to weave in such familiar wartime narratives as the \u003ca href=\"https://www.npr.org/2011/04/11/135177510/tuskegee-airmen-rock-stars-of-american-history\">Tuskegee Airmen\u003c/a> and the Great Escape. Lots of time is spent airborne, in one thrilling mission after another, but there also are scenes set in briefing rooms, barracks, rest and recreation spots, even German prisoner of war camps.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>[aside postid='arts_13940076']Masters of the Air \u003c/em>finds drama in all those places. And it’s nice to know that this miniseries, like its predecessors, is being rolled out in weekly installments. These hours of television are like the Air Force missions themselves: They’re such intense experiences, it’s nice to have a little time between them to reflect … and to breathe.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Spielberg+and+Hanks+take+to+the+World+War+II+skies+in+%27Masters+of+the+Air%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"The new Apple TV+ miniseries about fighter pilots captures thrilling airborne missions — but also finds drama on the ground.","status":"publish","parent":0,"modified":1706305523,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":639},"headData":{"title":"‘Masters of the Air’ Review: Spielberg Soars Into WW2 Skies | KQED","description":"The new Apple TV+ miniseries about fighter pilots captures thrilling airborne missions — but also finds drama on the ground.","ogTitle":"Spielberg and Hanks Take to the World War II Skies in ‘Masters of the Air’","ogDescription":"","ogImgId":"","twTitle":"Spielberg and Hanks Take to the World War II Skies in ‘Masters of the Air’","twDescription":"","twImgId":"","socialTitle":"‘Masters of the Air’ Review: Spielberg Soars Into WW2 Skies %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Spielberg and Hanks Soar Into World War II Skies in ‘Masters of the Air’","datePublished":"2024-01-26T19:51:41.000Z","dateModified":"2024-01-26T21:45:23.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"David Bianculli","nprImageAgency":"Apple TV+","nprStoryId":"1226859205","nprApiLink":"http://api.npr.org/query?id=1226859205&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2024/01/26/1226859205/masters-of-the-air-review-spielberg-hanks?ft=nprml&f=1226859205","nprRetrievedStory":"1","nprPubDate":"Fri, 26 Jan 2024 13:23:00 -0500","nprStoryDate":"Fri, 26 Jan 2024 05:00:46 -0500","nprLastModifiedDate":"Fri, 26 Jan 2024 05:00:46 -0500","nprAudio":"https://play.podtrac.com/npr-191676894/ondemand.npr.org/anon.npr-mp3/npr/fa/2024/01/20240126_fa_ac3e200b-51eb-4204-9e2c-fd8de75e67ff.mp3?orgId=427869011&topicId=1163&d=386&p=13&story=1226859205&ft=nprml&f=1226859205","nprAudioM3u":"http://api.npr.org/m3u/11227177156-fae457.m3u?orgId=427869011&topicId=1163&d=386&p=13&story=1226859205&ft=nprml&f=1226859205","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13951067/masters-of-the-air-spielberg-tom-hanks-world-war-ii-series-appletv","audioUrl":"https://play.podtrac.com/npr-191676894/ondemand.npr.org/anon.npr-mp3/npr/fa/2024/01/20240126_fa_ac3e200b-51eb-4204-9e2c-fd8de75e67ff.mp3?orgId=427869011&topicId=1163&d=386&p=13&story=1226859205&ft=nprml&f=1226859205","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13951072\" class=\"wp-caption aligncenter\" style=\"max-width: 1570px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951072\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM.png\" alt=\"Close up of two 1940s-era pilots stand on the tarmac under blue skies.\" width=\"1570\" height=\"1060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM.png 1570w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-800x540.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-1020x689.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-768x519.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-1536x1037.png 1536w\" sizes=\"(max-width: 1570px) 100vw, 1570px\">\u003cfigcaption class=\"wp-caption-text\">Austin Butler and Callum Turner in ‘Masters of the Air.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1990s,\u003ca href=\"https://www.npr.org/2022/11/09/1134314093/steven-spielberg-fabelmans\"> Steven Spielberg\u003c/a> directed two unforgettably powerful films about World War II: \u003cem>Schindler’s List\u003c/em>, in 1993, and \u003cem>Saving Private Ryan\u003c/em>, in 1998. \u003cem>Saving Private Ryan \u003c/em>starred \u003ca href=\"https://www.npr.org/2016/04/26/475573489/tom-hanks-says-self-doubt-is-a-high-wire-act-that-we-all-walk\">Tom Hanks\u003c/a>, and Hanks and Spielberg weren’t through with their obsession with World War II dramas; they were just beginning.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950974","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Teaming with Gary Goetzman, they produced two impressive, captivating HBO miniseries about World War II: \u003cem>Band of Brothers, \u003c/em>in 2001, followed nine years later by \u003ca href=\"https://www.npr.org/2010/03/11/124499816/hanks-spielberg-strike-out-for-the-pacific\">\u003cem>The Pacific\u003c/em>\u003c/a>\u003cem>.\u003c/em> Both miniseries did what \u003cem>Saving Private Ryan \u003c/em>also had accomplished so brilliantly: They allowed the audience to experience the intensity and brutality of wartime. Not just allowed us, but forced us, in unrelenting battle sequences that gave new meaning to the phrase “you are there.”\u003c/p>\n\u003cp>Those dramas also delivered large helpings of surprise, and of loss. We got to know, and care deeply about, their soldiers and marines — and then, without warning, many of them were taken away from us.\u003c/p>\n\u003cp>\u003cem>Masters of the Air\u003c/em> is the newest entry in this World War II project by Spielberg, Hanks and company. It’s every bit equal to, and boasts precisely the same strengths as, those previous offerings. It’s presented by Apple TV+ this time, rolled out weekly after the Jan. 26 two-episode premiere. And because \u003cem>Masters of the Air\u003c/em>, like \u003cem>Band of Brothers\u003c/em> and \u003cem>The Pacific,\u003c/em> is a limited miniseries, even the main characters are at risk of dying at any time — and some do.\u003c/p>\n\u003cp>Two of the primary characters share a similar nickname — a confusing gimmick that’s explained early on. There’s Gale “Buck” Cleven, played by Austin Butler, and John “Bucky” Egan, played by Callum Turner. Bucky had the nickname first, and gave the shorter name, “Buck,” to his friend just to annoy him — until it stuck. Bucky is a loudmouth hothead; Buck is more quiet and private. But they’re good friends, and great pilots.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Butler empowers Buck with the undeniable charisma of an old-fashioned movie star, like a bomber pilot-James Dean. Butler’s breakout starring role was as Elvis Presley in \u003ca href=\"https://www.npr.org/2022/06/23/1106734497/elvis-review-baz-luhrmann\">\u003cem>Elvis\u003c/em>\u003c/a>\u003cem>,\u003c/em> and here, even without the trappings of show-biz flash and glitz, he’s just as magnetic.\u003c/p>\n\u003cp>But Butler’s not carrying this story, or fighting this war, alone. Turner’s Bucky matches him throughout — and so does Anthony Boyle, who plays a young navigator named Harry Crosby. And a lot more players contribute greatly: This is a large cast, doing justice to a very big story.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/lA-1JCRguZ0'\n title='//www.youtube.com/embed/lA-1JCRguZ0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Masters of the Air \u003c/em>is based on the book by Donald L. Miller. Several talented directors traded off working on various episodes, but all were adapted for TV by screenwriter John Orloff. His narrative not only follows the leading characters during World War II, but makes time, over its nine episodes, to weave in such familiar wartime narratives as the \u003ca href=\"https://www.npr.org/2011/04/11/135177510/tuskegee-airmen-rock-stars-of-american-history\">Tuskegee Airmen\u003c/a> and the Great Escape. Lots of time is spent airborne, in one thrilling mission after another, but there also are scenes set in briefing rooms, barracks, rest and recreation spots, even German prisoner of war camps.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13940076","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Masters of the Air \u003c/em>finds drama in all those places. And it’s nice to know that this miniseries, like its predecessors, is being rolled out in weekly installments. These hours of television are like the Air Force missions themselves: They’re such intense experiences, it’s nice to have a little time between them to reflect … and to breathe.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Spielberg+and+Hanks+take+to+the+World+War+II+skies+in+%27Masters+of+the+Air%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13951067/masters-of-the-air-spielberg-tom-hanks-world-war-ii-series-appletv","authors":["byline_arts_13951067"],"programs":["arts_140"],"categories":["arts_1","arts_75","arts_990"],"tags":["arts_9222","arts_769","arts_585","arts_3038"],"affiliates":["arts_137"],"featImg":"arts_13951068","label":"arts_140"},"arts_13931436":{"type":"posts","id":"arts_13931436","meta":{"index":"posts_1591205157","site":"arts","id":"13931436","score":null,"sort":[1690841771000]},"guestAuthors":[],"slug":"frances-albrier-black-red-cross-naacp-richmond-shipyard-berkeley-wwii-seniors","title":"The Red Cross Nurse and Shipyard Welder Who Served Long After World War II","publishDate":1690841771,"format":"standard","headTitle":"The Red Cross Nurse and Shipyard Welder Who Served Long After World War II | KQED","labelTerm":{"term":8978,"site":"arts"},"content":"\u003cp>[dropcap]I[/dropcap]n 1940, an industrialist named Henry J. Kaiser was approached by the British government and asked to build ships to aid the United Kingdom’s World War II efforts. Kaiser was one of the main contractors responsible for building the Hoover Dam, and he had an impeccable reputation. To accommodate the UK’s request, Kaiser opened his first shipyard in Richmond, California. As the war ramped up and demand increased, Kaiser’s one shipyard turned into four. By the end of the war, tens of thousands of workers in Richmond had built 747 ships — more than any other shipyard in America.\u003c/p>\n\u003cp>[aside postid='arts_13926548']By 1942, with so many men away at war, this Richmond hub was employing tens of thousands of women. That year, they hired their first ever Black female welder: Frances Albrier. At 44, Albrier had already done her part for the war effort, volunteering with the Red Cross as a nurse and first aid instructor. But presented with any opportunity to contribute to a collective good, the Berkeley resident always grabbed it with both hands.\u003c/p>\n\u003cp>In addition to her nursing and ship-building, Albrier also volunteered at Oakland’s De Fremery Park Hospitality House, a recreation center for soldiers. During this time, Albrier frequently used the letters pages of local newspapers to ask the public for donations that would benefit soldiers stationed all over the Bay. (At one point, she successfully acquired two pianos for a Berkeley camp of servicemen — one for church services, one for downtime. She knew small actions could have hugely positive impacts.)\u003c/p>\n\u003cfigure id=\"attachment_13932774\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932774\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/20230711_121459-1-800x544.jpg\" alt=\"\" width=\"800\" height=\"544\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-1020x693.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-1536x1044.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-2048x1391.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-1920x1304.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frances Albrier’s wartime Red Cross card, 1942. \u003ccite>(Courtesy of the African American Museum and Library at Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though committed to helping everyone serving in World War II, Albrier was particularly concerned about the welfare of Black soldiers. After an incident of violence against Black servicemen stationed in Louisiana in 1942, Albrier wrote an impassioned plea to the \u003cem>Oakland Tribune\u003c/em>. Her letter said, in part:\u003c/p>\n\u003cblockquote>\u003cp>The Army has taken thousands of Negro men from the Northern, Eastern and Western sections and placed them in localities whose traditions and practices are to insult, beat, shoot and lynch them … Fair minded, liberal Christian white Americans should help their brothers of darker skin by protesting against these insults heaped on citizens who are doing their part to save our democracy, which they hope someday may exist for them also.\u003c/p>\u003c/blockquote>\n\u003cp>[dropcap]A[/dropcap]lbrier’s commitment to assisting the communities around her did not start — nor stop — with the war. Raised in Tuskegee, Alabama by her grandparents following her mother’s death, she graduated with a BA from Howard University in 1920\u003cstrong>.\u003c/strong> Albrier moved to Berkeley that year and, inspired by an Oakland meeting of Marcus Garvey’s Universal Negro Improvement Association, she volunteered as a \u003ca href=\"https://en.wikipedia.org/wiki/Black_Cross_Nurses\">Black Cross Nurse\u003c/a>. The Black Cross was a Red Cross-inspired organization specifically focused on the health needs of the Black community at a time when hospitals and medical offices were still segregated, including in California.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Soon after that, during a five-year employment as a maid, manicurist and ticket-taker with Pullman Company first-class trains, Albrier helped her fellow maids and porters to unionize.\u003c/p>\n\u003cp>In 1938, Albrier served on the board of directors of the \u003ca href=\"https://en.wikipedia.org/wiki/National_Negro_Congress\">National Negro Congress\u003c/a> and became the first woman elected to the Alameda County Democratic Ventral Committee. All the while, she also passionately campaigned for Franklin D. Roosevelt, whom she had met on a Pullman train while he was the governor of New York. That same year, Albrier was president of the East Bay Women’s Welfare Club, which campaigned to employ more Black teachers in Berkeley schools and visited classrooms to inspire children of color. The club was also trying to get some Black representation in local government — which led Albrier, in 1939, to become the first ever Black person to run for Berkeley City Council.\u003c/p>\n\u003cp>[aside postid='arts_13916612']“I didn’t think I would be elected,” she said in 1977, “but … I received a great many votes. My idea of running was to meet the people. I knew that if I ran for city council, I would be invited to the clubs and organizations to give my views on the city government.” Albrier went on: “I wanted to tell them that we had 5,000 [Black] taxpayers without any representation in the city government or the schools of Berkeley. That was the message I wanted to get over to them.”\u003c/p>\n\u003cp>Albrier didn’t need to be a political candidate to become embedded with “the clubs” however. Throughout the 1940s, ’50s and ’60s, Albrier held prominent positions at an astonishing number of organizations. These included: the NAACP (both Alameda County and Berkeley branches), the Department of Women in Industry, the California Association of Colored Women’s Clubs, the Citizens Employment Council, National Council of Negro Women (San Francisco chapter), the Ladies Auxiliary Dining Car Union, East Bay Women’s Missionary Fellowship and the Golden Gate Democratic Club. There was also the Negro Cultural and Historical Society, the Democratic Women’s Study Club, the East Bay Negro Historical Society and the Berkeley Women’s Town Council.\u003c/p>\n\u003cfigure id=\"attachment_13932194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932194\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121-800x800.jpg\" alt=\"Six membership cards belonging to Frances Albrier from the organizations: the National Council of Negro Women, the Negro Non-Partisan League of California Inc., the Southern Pacific Company, The California Farmer-Labor-Consumer Committee to Combat Inflation, the Ladies Auxiliary of Dining Car Employees Union and the State, County and Municipal Workers of America.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A selection of Frances Albrier’s membership cards from throughout her life of service. \u003ccite>(Courtesy of the African American Museum and Library at Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Albrier’s motivations for being involved in so many different causes were reflected in one “Thought of the day” notecard she wrote to herself in the late 1940s. “We have prayed together during the stirring, anxious, tragic years of war,” she wrote in neat cursive. “Now we have peace and we are profoundly grateful to God. We must, however, continue to pray with the same earnestness, the same faith and constancy. The problems of peace are many, as serious and as disturbing as those of wartime. And they demand a courage equal to that called for by the fiery trials of the war years.”\u003c/p>\n\u003cp>[dropcap]T[/dropcap]he fire that drove Albrier back then never cooled. As she strode towards her senior years, she became concerned about the welfare of the elderly — particularly those that were impoverished and did not have families to fall back on. (Albrier herself had raised three children — William, Betty and Anita — from her first marriage to William Albert Jackson. Four years after Jackson’s death, she married Willie Antoine Albrier.)\u003c/p>\n\u003cp>[aside postid='pop_102326']Once again, Albrier got involved in any way that she could. In 1965, Albrier was appointed to the City of Berkeley’s Committee on Aging. She acted as a senior community representative at the Berkeley Senior Center. By 1971, she’d been called on to act as a delegate at the White House Conference on Aging. (The gathering’s express purpose was to solidify a “comprehensive national policy” for aging Americans.) Albrier spent five years on the board of directors for the South Berkeley Model Cities Neighborhood Council. In that role, she was key in establishing \u003ca href=\"https://www.seniorhousingnet.com/seniorliving-detail/harriet-tubman-terrance_2870-adeline-st_berkeley_ca_94703-530621\">Harriet Tubman Terrace\u003c/a> — housing for low income seniors. Albrier even delivered meals (and companionship) to the elderly and infirm — something the City of Berkeley recognized with an award in 1978.\u003c/p>\n\u003cp>After a life thoroughly well-lived, Frances Albrier died on Aug. 21, 1987. She left behind 11 grandchildren, 15 great-grandchildren and too many admirers, friends and supporters to count. Before she was buried at the Sunset View Cemetery in her beloved Berkeley, her family released an obituary that paid tribute to the incredible impacts Albrier made in her 88 years.\u003c/p>\n\u003cp>“She served as a role model and inspiration for innumerable educators, politicians and community service groups,” they wrote. “It might be said of Frances Albrier that she was a living example of the philosophy ‘Be all you can be.’ Suffice it to say that all of us who have touched the hem of her garment will always serve our communities.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Berkeley's Frances Albrier dedicated her life to serving the Black community, women, seniors, workers and soldiers.","status":"publish","parent":0,"modified":1705092359,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1382},"headData":{"title":"Frances Albrier: Remembering the WW2 Nurse, Welder, Activist | KQED","description":"Berkeley's Frances Albrier dedicated her life to serving the Black community, women, seniors, workers and soldiers.","ogTitle":"The Red Cross Nurse and Shipyard Welder Who Served Long After World War II","ogDescription":"","ogImgId":"","twTitle":"The Red Cross Nurse and Shipyard Welder Who Served Long After World War II","twDescription":"","twImgId":"","socialTitle":"Frances Albrier: Remembering the WW2 Nurse, Welder, Activist %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Red Cross Nurse and Shipyard Welder Who Served Long After World War II","datePublished":"2023-07-31T22:16:11.000Z","dateModified":"2024-01-12T20:45:59.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/747c6b62-8869-4b3a-ab4b-b06701489cac/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13931436/frances-albrier-black-red-cross-naacp-richmond-shipyard-berkeley-wwii-seniors","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>n 1940, an industrialist named Henry J. Kaiser was approached by the British government and asked to build ships to aid the United Kingdom’s World War II efforts. Kaiser was one of the main contractors responsible for building the Hoover Dam, and he had an impeccable reputation. To accommodate the UK’s request, Kaiser opened his first shipyard in Richmond, California. As the war ramped up and demand increased, Kaiser’s one shipyard turned into four. By the end of the war, tens of thousands of workers in Richmond had built 747 ships — more than any other shipyard in America.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13926548","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>By 1942, with so many men away at war, this Richmond hub was employing tens of thousands of women. That year, they hired their first ever Black female welder: Frances Albrier. At 44, Albrier had already done her part for the war effort, volunteering with the Red Cross as a nurse and first aid instructor. But presented with any opportunity to contribute to a collective good, the Berkeley resident always grabbed it with both hands.\u003c/p>\n\u003cp>In addition to her nursing and ship-building, Albrier also volunteered at Oakland’s De Fremery Park Hospitality House, a recreation center for soldiers. During this time, Albrier frequently used the letters pages of local newspapers to ask the public for donations that would benefit soldiers stationed all over the Bay. (At one point, she successfully acquired two pianos for a Berkeley camp of servicemen — one for church services, one for downtime. She knew small actions could have hugely positive impacts.)\u003c/p>\n\u003cfigure id=\"attachment_13932774\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932774\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/20230711_121459-1-800x544.jpg\" alt=\"\" width=\"800\" height=\"544\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-1020x693.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-1536x1044.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-2048x1391.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230711_121459-1-1920x1304.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frances Albrier’s wartime Red Cross card, 1942. \u003ccite>(Courtesy of the African American Museum and Library at Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though committed to helping everyone serving in World War II, Albrier was particularly concerned about the welfare of Black soldiers. After an incident of violence against Black servicemen stationed in Louisiana in 1942, Albrier wrote an impassioned plea to the \u003cem>Oakland Tribune\u003c/em>. Her letter said, in part:\u003c/p>\n\u003cblockquote>\u003cp>The Army has taken thousands of Negro men from the Northern, Eastern and Western sections and placed them in localities whose traditions and practices are to insult, beat, shoot and lynch them … Fair minded, liberal Christian white Americans should help their brothers of darker skin by protesting against these insults heaped on citizens who are doing their part to save our democracy, which they hope someday may exist for them also.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp>lbrier’s commitment to assisting the communities around her did not start — nor stop — with the war. Raised in Tuskegee, Alabama by her grandparents following her mother’s death, she graduated with a BA from Howard University in 1920\u003cstrong>.\u003c/strong> Albrier moved to Berkeley that year and, inspired by an Oakland meeting of Marcus Garvey’s Universal Negro Improvement Association, she volunteered as a \u003ca href=\"https://en.wikipedia.org/wiki/Black_Cross_Nurses\">Black Cross Nurse\u003c/a>. The Black Cross was a Red Cross-inspired organization specifically focused on the health needs of the Black community at a time when hospitals and medical offices were still segregated, including in California.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Soon after that, during a five-year employment as a maid, manicurist and ticket-taker with Pullman Company first-class trains, Albrier helped her fellow maids and porters to unionize.\u003c/p>\n\u003cp>In 1938, Albrier served on the board of directors of the \u003ca href=\"https://en.wikipedia.org/wiki/National_Negro_Congress\">National Negro Congress\u003c/a> and became the first woman elected to the Alameda County Democratic Ventral Committee. All the while, she also passionately campaigned for Franklin D. Roosevelt, whom she had met on a Pullman train while he was the governor of New York. That same year, Albrier was president of the East Bay Women’s Welfare Club, which campaigned to employ more Black teachers in Berkeley schools and visited classrooms to inspire children of color. The club was also trying to get some Black representation in local government — which led Albrier, in 1939, to become the first ever Black person to run for Berkeley City Council.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13916612","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“I didn’t think I would be elected,” she said in 1977, “but … I received a great many votes. My idea of running was to meet the people. I knew that if I ran for city council, I would be invited to the clubs and organizations to give my views on the city government.” Albrier went on: “I wanted to tell them that we had 5,000 [Black] taxpayers without any representation in the city government or the schools of Berkeley. That was the message I wanted to get over to them.”\u003c/p>\n\u003cp>Albrier didn’t need to be a political candidate to become embedded with “the clubs” however. Throughout the 1940s, ’50s and ’60s, Albrier held prominent positions at an astonishing number of organizations. These included: the NAACP (both Alameda County and Berkeley branches), the Department of Women in Industry, the California Association of Colored Women’s Clubs, the Citizens Employment Council, National Council of Negro Women (San Francisco chapter), the Ladies Auxiliary Dining Car Union, East Bay Women’s Missionary Fellowship and the Golden Gate Democratic Club. There was also the Negro Cultural and Historical Society, the Democratic Women’s Study Club, the East Bay Negro Historical Society and the Berkeley Women’s Town Council.\u003c/p>\n\u003cfigure id=\"attachment_13932194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932194\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121-800x800.jpg\" alt=\"Six membership cards belonging to Frances Albrier from the organizations: the National Council of Negro Women, the Negro Non-Partisan League of California Inc., the Southern Pacific Company, The California Farmer-Labor-Consumer Committee to Combat Inflation, the Ladies Auxiliary of Dining Car Employees Union and the State, County and Municipal Workers of America.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Frances-Albriers-Membership-Cards-scaled-e1690502932121.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A selection of Frances Albrier’s membership cards from throughout her life of service. \u003ccite>(Courtesy of the African American Museum and Library at Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Albrier’s motivations for being involved in so many different causes were reflected in one “Thought of the day” notecard she wrote to herself in the late 1940s. “We have prayed together during the stirring, anxious, tragic years of war,” she wrote in neat cursive. “Now we have peace and we are profoundly grateful to God. We must, however, continue to pray with the same earnestness, the same faith and constancy. The problems of peace are many, as serious and as disturbing as those of wartime. And they demand a courage equal to that called for by the fiery trials of the war years.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>he fire that drove Albrier back then never cooled. As she strode towards her senior years, she became concerned about the welfare of the elderly — particularly those that were impoverished and did not have families to fall back on. (Albrier herself had raised three children — William, Betty and Anita — from her first marriage to William Albert Jackson. Four years after Jackson’s death, she married Willie Antoine Albrier.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_102326","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Once again, Albrier got involved in any way that she could. In 1965, Albrier was appointed to the City of Berkeley’s Committee on Aging. She acted as a senior community representative at the Berkeley Senior Center. By 1971, she’d been called on to act as a delegate at the White House Conference on Aging. (The gathering’s express purpose was to solidify a “comprehensive national policy” for aging Americans.) Albrier spent five years on the board of directors for the South Berkeley Model Cities Neighborhood Council. In that role, she was key in establishing \u003ca href=\"https://www.seniorhousingnet.com/seniorliving-detail/harriet-tubman-terrance_2870-adeline-st_berkeley_ca_94703-530621\">Harriet Tubman Terrace\u003c/a> — housing for low income seniors. Albrier even delivered meals (and companionship) to the elderly and infirm — something the City of Berkeley recognized with an award in 1978.\u003c/p>\n\u003cp>After a life thoroughly well-lived, Frances Albrier died on Aug. 21, 1987. She left behind 11 grandchildren, 15 great-grandchildren and too many admirers, friends and supporters to count. Before she was buried at the Sunset View Cemetery in her beloved Berkeley, her family released an obituary that paid tribute to the incredible impacts Albrier made in her 88 years.\u003c/p>\n\u003cp>“She served as a role model and inspiration for innumerable educators, politicians and community service groups,” they wrote. “It might be said of Frances Albrier that she was a living example of the philosophy ‘Be all you can be.’ Suffice it to say that all of us who have touched the hem of her garment will always serve our communities.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13931436/frances-albrier-black-red-cross-naacp-richmond-shipyard-berkeley-wwii-seniors","authors":["11242"],"programs":["arts_8978"],"categories":["arts_1","arts_835","arts_7862","arts_11615"],"tags":["arts_4459","arts_1270","arts_2733","arts_10278","arts_21841","arts_2479","arts_21264","arts_3038"],"featImg":"arts_13932521","label":"arts_8978"},"arts_13931577":{"type":"posts","id":"arts_13931577","meta":{"index":"posts_1591205157","site":"arts","id":"13931577","score":null,"sort":[1689274902000]},"guestAuthors":[],"slug":"in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults","title":"In ‘Oppenheimer,’ Christopher Nolan Builds a Thrilling, Serious Blockbuster for Adults","publishDate":1689274902,"format":"standard","headTitle":"In ‘Oppenheimer,’ Christopher Nolan Builds a Thrilling, Serious Blockbuster for Adults | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Christopher Nolan has never been one to take the easy or straightforward route while making a movie.\u003c/p>\n\u003cp>He shoots on large-format film with large, cumbersome cameras to get the best possible cinematic image. He prefers practical effects over computer-generated ones and real locations over soundstages — even when that means recreating an atomic explosion in the harsh winds of the New Mexico desert in the middle of the night for \u003cem>Oppenheimer\u003c/em>, out July 21.\u003c/p>\n\u003cp>Though, despite internet rumors, they did not detonate an actual nuclear weapon.\u003c/p>\n\u003cp>[aside postid='arts_13931543']And as for the biography that inspired his newest film, Kai Bird and Martin J. Sherwin’s riveting, linear narrative \u003cem>American Prometheus\u003c/em> was simply the starting point from which Nolan crafted a beguiling labyrinth of suspense and drama.\u003c/p>\n\u003cp>It’s why, in his two decades working in Hollywood, Nolan has become a franchise unto himself — the rare auteur writer-director who makes films that are both intellectually stimulating and commercial, accounting for more than $5 billion in box office receipts. That combination is part of the reason why he’s able to attract Oscar winners and movie stars not just to headline his films, but also to turn out for just a scene or two.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We’ve all been so intoxicated by his films,” said Emily Blunt, who plays J. Robert Oppenheimer’s wife, Kitty. “That exploration of huge themes in an entertaining way doesn’t happen. It just doesn’t happen. That depth, the depth of the material, and yet on this massive epic scale.”\u003c/p>\n\u003cp>In the vast and complex story of the brilliant theoretical physicist who oversaw the Manhattan Project and the development of the atomic bomb during World War II, Nolan saw exciting possibilities to play with genre and form. There was the race to develop it before the Germans did, espionage, romance, domestic turmoil, a courtroom drama, bruised egos, political machinations, communist panic, and the burden of having created something that could destroy the world.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uYPbbksJxIg\u003c/p>\n\u003cp>And then there was the man himself, beloved by most but hated by enough, who, after achieving icon status in American society, saw his reputation and sense of self annihilated by the very institutions that built him.\u003c/p>\n\u003cp>“It’s such an ambitious story to tell,” said Matt Damon, who plays Gen. Leslie Groves Jr. “Reading the script, I had the same feeling I had when I read \u003cem>Interstellar\u003c/em>, which was: ‘This is great. How the hell is he going to do this?’”\u003c/p>\n\u003cp>It’s not so disconnected from Nolan’s other films, either. As critic Tom Shone noted in his book about the director, “Looked at one way, Nolan’s films are all allegories of men who first find their salvation in structure only to find themselves betrayed or engulfed by it.”\u003c/p>\n\u003cp>[aside postid='arts_13931287']Nolan turned to Cillian Murphy to take on the gargantuan task of portraying Oppenheimer. Murphy had already acted in five Nolan films, including the Batman trilogy, \u003cem>Dunkirk\u003c/em> and \u003cem>Inception\u003c/em>, but this would be his first time as a lead — something he had secretly pined for.\u003c/p>\n\u003cp>“You feel a responsibility, but then a great hunger and excitement to try and do it, to see where you can get,” said Murphy, who prepped extensively for six months before filming, working closely with Nolan throughout. “It was an awful lot of work, but I loved it. There is this kind of frisson, this energy when you’re on a Chris Nolan set about the potential for what you’re going to achieve.”\u003c/p>\n\u003cfigure id=\"attachment_13931579\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931579\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM-800x518.png\" alt=\"A man in a grey hat and suit looks off to one side. He is standing outside, wooden buildings visible behind him. \" width=\"800\" height=\"518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM-800x518.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM-1020x661.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM-768x497.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM-1536x995.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM.png 1868w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cillian Murphy in ‘Oppenheimer.’ \u003ccite>(Syncopy/ Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It would be an all-consuming role that would require some physical transformation to approximate that famously thin silhouette. A complex, contradictory figure, Oppenheimer emerged from a somewhat awkward youth to become a renaissance man who seemed to carry equal passion for the Bhagavad Gita, Proust, physics, languages, New Mexico, philosophical questions about disarmament and the perfectly mixed martini. But Murphy knew he was in safe hands with Nolan.\u003c/p>\n\u003cp>“He’s the most natural director I’ve ever worked with. And the notes that he gives to an actor are quite remarkable. How he can gently bring you to a different place with your performance is quite stunning in such a subtle, low-key, understated way,” Murphy said. “It can have a profound effect on the way you look at a scene from one take to another take.”\u003c/p>\n\u003cp>Nolan wrote the main timeline of the film in the first person, to represent Oppenheimer’s subjective experience.\u003c/p>\n\u003cp>[aside postid='arts_13931189']“We want to see everything through Oppenheimer’s point of view,” Nolan said. “That’s a huge challenge for an actor to take on because they’re having to worry about the performance, the truth of the performance, but also make sure that that’s always open to the audience.”\u003c/p>\n\u003cp>The other timeline, filmed in black and white, is more objective and focused on Lewis Strauss (Robert Downey Jr.), a founding member of the Atomic Energy Commission and a supporter of the development of the more destructive hydrogen bomb.\u003c/p>\n\u003cp>\u003cem>Oppenheimer\u003c/em> is Nolan’s first R-rated film since 2002’s \u003cem>Insomnia\u003c/em>, which after years of working exclusively in PG-13, he’s comfortable with. It fits the gravity of the material.\u003c/p>\n\u003cp>“We’re dealing with the most serious and adult story you could imagine — very important, dramatic events that changed the world and defined the world we live in today,” Nolan said. “You don’t want to compromise in any way.”\u003c/p>\n\u003cp>Much of the filming took place in New Mexico, including at the real Los Alamos laboratory where thousands of scientists, technicians and their families lived and worked for two years in the effort to develop the bomb. Nolan enlisted many of his frequent behind-the-scenes collaborators, including his wife and producer Emma Thomas, cinematographer Hoyte Van Hoytema, composer Ludwig Göransson and special effects supervisors Scott Fisher and Andrew Jackson, as well as some newcomers like production designer Ruth de Jong and costume designer Ellen Mirojnick to help bring this world to life.\u003c/p>\n\u003cp>“It was a very focused set — fun set as well, not too serious. But the work was serious, the sweating of the details was serious,” Blunt said. “Everyone needs to kind of match Chris’ excellence, or want to.”\u003c/p>\n\u003cfigure id=\"attachment_13931581\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931581\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/matt-damon-800x496.png\" alt=\"A white man with a mustache sits in an office chair. He is wearing a military uniform, tie slightly undone.\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/matt-damon-800x496.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/matt-damon-1020x633.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/matt-damon-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/matt-damon-768x476.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/matt-damon-1536x952.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/matt-damon.png 1890w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Matt Damon playing Gen. Leslie Groves Jr. in ‘Oppenheimer.’ \u003ccite>(Syncopy/ Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When it came to recreating the Trinity test, Oppenheimer’s chosen name for the first nuclear detonation, art and life blended in a visceral way.\u003c/p>\n\u003cp>“We wanted to put the audience there in that bunker,” Nolan said. “That meant really trying to make these things as beautiful and frightening and awe inspiring as they would have been to the people at the time.”\u003c/p>\n\u003cp>Though no real nukes were used, they did stage a lot of real explosions to approximate the blindingly bright atomic fire and mushroom cloud.\u003c/p>\n\u003cp>[aside postid='arts_13931405']“To do those safely in a real environment out in the nighttime desert, there’s a degree of discipline and focus and adrenaline and just executing that for the film that echoes and mirrors what these guys went through on the grandest scale in a really interesting way,” Nolan said. “I felt everybody had that very, very tight sense of tension and focus around all those shooting nights.”\u003c/p>\n\u003cp>The weather also “did what it needed to do, as per history,” Murphy said, as the wind picked up and whipped around the set.\u003c/p>\n\u003cp>“I’m rumored to be very lucky with the weather and it’s not the case. It’s just that we decide to shoot whatever the weather,” Nolan said. “In the case of the Trinity test, it was essential, central to the story that this big storm rolls in with tremendous drama. And it did. That really made the sequence come to life.”\u003c/p>\n\u003cp>He added: “The extremity of it put me very much in the mindset of what it must have been like for these guys. It really felt like we were out in it.”\u003c/p>\n\u003cp>Then, of course, there is the experience of watching \u003cem>Oppenheimer\u003c/em>.\u003c/p>\n\u003cp>“When you’re making a movie, I feel like you’re on the inside looking out,” Blunt said. “It’s really overwhelming to see it reflected back at you, especially one of this magnitude. … I just felt like my breastplate was going to shatter, it was so intense.”\u003c/p>\n\u003cfigure id=\"attachment_13931580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931580\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/emily-blunt-800x504.png\" alt=\"A woman in casual 1940s shirt and cardigan sweeps hair away from her face. Behind her is a laundry line covered in sheets.\" width=\"800\" height=\"504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/emily-blunt-800x504.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/emily-blunt-1020x642.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/emily-blunt-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/emily-blunt-768x484.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/emily-blunt-1536x967.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/emily-blunt.png 1566w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emily Blunt stars as Kitty Oppenheimer. \u003ccite>(Syncopy/ Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The hope is that when \u003cem>Oppenheimer\u003c/em> is unleashed on the world, audiences will be as invested and will seek it out on the biggest screen they can find. The film has a run in IMAX theaters around the country, not something often afforded serious-minded, R-rated movies in the middle of the busy summer season. But this is also the essential Nolan impossibility. As more and more auteurs have had to compromise — to either go smaller or team with streamers to get the kind of budget they might once have had at studios, like even Ridley Scott and Martin Scorsese have had to do this year — Nolan continues to make his movies on the grandest scale.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Each of his films has been revolutionary in their own way,” Murphy said. “It’s an event every time he releases a film, and rightly so.”\u003c/p>\n\n","blocks":[],"excerpt":"As more and more auteurs have had to compromise, Nolan continues to make his movies on the grandest scale.","status":"publish","parent":0,"modified":1705005278,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":34,"wordCount":1653},"headData":{"title":"In ‘Oppenheimer,’ Christopher Nolan Builds a Thrilling, Serious Blockbuster for Adults | KQED","description":"As more and more auteurs have had to compromise, Nolan continues to make his movies on the grandest scale.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"In ‘Oppenheimer,’ Christopher Nolan Builds a Thrilling, Serious Blockbuster for Adults","datePublished":"2023-07-13T19:01:42.000Z","dateModified":"2024-01-11T20:34:38.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Lindsey Bahr, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Christopher Nolan has never been one to take the easy or straightforward route while making a movie.\u003c/p>\n\u003cp>He shoots on large-format film with large, cumbersome cameras to get the best possible cinematic image. He prefers practical effects over computer-generated ones and real locations over soundstages — even when that means recreating an atomic explosion in the harsh winds of the New Mexico desert in the middle of the night for \u003cem>Oppenheimer\u003c/em>, out July 21.\u003c/p>\n\u003cp>Though, despite internet rumors, they did not detonate an actual nuclear weapon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13931543","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>And as for the biography that inspired his newest film, Kai Bird and Martin J. Sherwin’s riveting, linear narrative \u003cem>American Prometheus\u003c/em> was simply the starting point from which Nolan crafted a beguiling labyrinth of suspense and drama.\u003c/p>\n\u003cp>It’s why, in his two decades working in Hollywood, Nolan has become a franchise unto himself — the rare auteur writer-director who makes films that are both intellectually stimulating and commercial, accounting for more than $5 billion in box office receipts. That combination is part of the reason why he’s able to attract Oscar winners and movie stars not just to headline his films, but also to turn out for just a scene or two.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’ve all been so intoxicated by his films,” said Emily Blunt, who plays J. Robert Oppenheimer’s wife, Kitty. “That exploration of huge themes in an entertaining way doesn’t happen. It just doesn’t happen. That depth, the depth of the material, and yet on this massive epic scale.”\u003c/p>\n\u003cp>In the vast and complex story of the brilliant theoretical physicist who oversaw the Manhattan Project and the development of the atomic bomb during World War II, Nolan saw exciting possibilities to play with genre and form. There was the race to develop it before the Germans did, espionage, romance, domestic turmoil, a courtroom drama, bruised egos, political machinations, communist panic, and the burden of having created something that could destroy the world.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/uYPbbksJxIg'\n title='//www.youtube.com/embed/uYPbbksJxIg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And then there was the man himself, beloved by most but hated by enough, who, after achieving icon status in American society, saw his reputation and sense of self annihilated by the very institutions that built him.\u003c/p>\n\u003cp>“It’s such an ambitious story to tell,” said Matt Damon, who plays Gen. Leslie Groves Jr. “Reading the script, I had the same feeling I had when I read \u003cem>Interstellar\u003c/em>, which was: ‘This is great. How the hell is he going to do this?’”\u003c/p>\n\u003cp>It’s not so disconnected from Nolan’s other films, either. As critic Tom Shone noted in his book about the director, “Looked at one way, Nolan’s films are all allegories of men who first find their salvation in structure only to find themselves betrayed or engulfed by it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13931287","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Nolan turned to Cillian Murphy to take on the gargantuan task of portraying Oppenheimer. Murphy had already acted in five Nolan films, including the Batman trilogy, \u003cem>Dunkirk\u003c/em> and \u003cem>Inception\u003c/em>, but this would be his first time as a lead — something he had secretly pined for.\u003c/p>\n\u003cp>“You feel a responsibility, but then a great hunger and excitement to try and do it, to see where you can get,” said Murphy, who prepped extensively for six months before filming, working closely with Nolan throughout. “It was an awful lot of work, but I loved it. There is this kind of frisson, this energy when you’re on a Chris Nolan set about the potential for what you’re going to achieve.”\u003c/p>\n\u003cfigure id=\"attachment_13931579\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931579\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM-800x518.png\" alt=\"A man in a grey hat and suit looks off to one side. He is standing outside, wooden buildings visible behind him. \" width=\"800\" height=\"518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM-800x518.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM-1020x661.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM-768x497.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM-1536x995.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.16-AM.png 1868w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cillian Murphy in ‘Oppenheimer.’ \u003ccite>(Syncopy/ Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It would be an all-consuming role that would require some physical transformation to approximate that famously thin silhouette. A complex, contradictory figure, Oppenheimer emerged from a somewhat awkward youth to become a renaissance man who seemed to carry equal passion for the Bhagavad Gita, Proust, physics, languages, New Mexico, philosophical questions about disarmament and the perfectly mixed martini. But Murphy knew he was in safe hands with Nolan.\u003c/p>\n\u003cp>“He’s the most natural director I’ve ever worked with. And the notes that he gives to an actor are quite remarkable. How he can gently bring you to a different place with your performance is quite stunning in such a subtle, low-key, understated way,” Murphy said. “It can have a profound effect on the way you look at a scene from one take to another take.”\u003c/p>\n\u003cp>Nolan wrote the main timeline of the film in the first person, to represent Oppenheimer’s subjective experience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13931189","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“We want to see everything through Oppenheimer’s point of view,” Nolan said. “That’s a huge challenge for an actor to take on because they’re having to worry about the performance, the truth of the performance, but also make sure that that’s always open to the audience.”\u003c/p>\n\u003cp>The other timeline, filmed in black and white, is more objective and focused on Lewis Strauss (Robert Downey Jr.), a founding member of the Atomic Energy Commission and a supporter of the development of the more destructive hydrogen bomb.\u003c/p>\n\u003cp>\u003cem>Oppenheimer\u003c/em> is Nolan’s first R-rated film since 2002’s \u003cem>Insomnia\u003c/em>, which after years of working exclusively in PG-13, he’s comfortable with. It fits the gravity of the material.\u003c/p>\n\u003cp>“We’re dealing with the most serious and adult story you could imagine — very important, dramatic events that changed the world and defined the world we live in today,” Nolan said. “You don’t want to compromise in any way.”\u003c/p>\n\u003cp>Much of the filming took place in New Mexico, including at the real Los Alamos laboratory where thousands of scientists, technicians and their families lived and worked for two years in the effort to develop the bomb. Nolan enlisted many of his frequent behind-the-scenes collaborators, including his wife and producer Emma Thomas, cinematographer Hoyte Van Hoytema, composer Ludwig Göransson and special effects supervisors Scott Fisher and Andrew Jackson, as well as some newcomers like production designer Ruth de Jong and costume designer Ellen Mirojnick to help bring this world to life.\u003c/p>\n\u003cp>“It was a very focused set — fun set as well, not too serious. But the work was serious, the sweating of the details was serious,” Blunt said. “Everyone needs to kind of match Chris’ excellence, or want to.”\u003c/p>\n\u003cfigure id=\"attachment_13931581\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931581\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/matt-damon-800x496.png\" alt=\"A white man with a mustache sits in an office chair. He is wearing a military uniform, tie slightly undone.\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/matt-damon-800x496.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/matt-damon-1020x633.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/matt-damon-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/matt-damon-768x476.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/matt-damon-1536x952.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/matt-damon.png 1890w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Matt Damon playing Gen. Leslie Groves Jr. in ‘Oppenheimer.’ \u003ccite>(Syncopy/ Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When it came to recreating the Trinity test, Oppenheimer’s chosen name for the first nuclear detonation, art and life blended in a visceral way.\u003c/p>\n\u003cp>“We wanted to put the audience there in that bunker,” Nolan said. “That meant really trying to make these things as beautiful and frightening and awe inspiring as they would have been to the people at the time.”\u003c/p>\n\u003cp>Though no real nukes were used, they did stage a lot of real explosions to approximate the blindingly bright atomic fire and mushroom cloud.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13931405","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“To do those safely in a real environment out in the nighttime desert, there’s a degree of discipline and focus and adrenaline and just executing that for the film that echoes and mirrors what these guys went through on the grandest scale in a really interesting way,” Nolan said. “I felt everybody had that very, very tight sense of tension and focus around all those shooting nights.”\u003c/p>\n\u003cp>The weather also “did what it needed to do, as per history,” Murphy said, as the wind picked up and whipped around the set.\u003c/p>\n\u003cp>“I’m rumored to be very lucky with the weather and it’s not the case. It’s just that we decide to shoot whatever the weather,” Nolan said. “In the case of the Trinity test, it was essential, central to the story that this big storm rolls in with tremendous drama. And it did. That really made the sequence come to life.”\u003c/p>\n\u003cp>He added: “The extremity of it put me very much in the mindset of what it must have been like for these guys. It really felt like we were out in it.”\u003c/p>\n\u003cp>Then, of course, there is the experience of watching \u003cem>Oppenheimer\u003c/em>.\u003c/p>\n\u003cp>“When you’re making a movie, I feel like you’re on the inside looking out,” Blunt said. “It’s really overwhelming to see it reflected back at you, especially one of this magnitude. … I just felt like my breastplate was going to shatter, it was so intense.”\u003c/p>\n\u003cfigure id=\"attachment_13931580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931580\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/emily-blunt-800x504.png\" alt=\"A woman in casual 1940s shirt and cardigan sweeps hair away from her face. Behind her is a laundry line covered in sheets.\" width=\"800\" height=\"504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/emily-blunt-800x504.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/emily-blunt-1020x642.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/emily-blunt-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/emily-blunt-768x484.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/emily-blunt-1536x967.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/emily-blunt.png 1566w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emily Blunt stars as Kitty Oppenheimer. \u003ccite>(Syncopy/ Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The hope is that when \u003cem>Oppenheimer\u003c/em> is unleashed on the world, audiences will be as invested and will seek it out on the biggest screen they can find. The film has a run in IMAX theaters around the country, not something often afforded serious-minded, R-rated movies in the middle of the busy summer season. But this is also the essential Nolan impossibility. As more and more auteurs have had to compromise — to either go smaller or team with streamers to get the kind of budget they might once have had at studios, like even Ridley Scott and Martin Scorsese have had to do this year — Nolan continues to make his movies on the grandest scale.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Each of his films has been revolutionary in their own way,” Murphy said. “It’s an event every time he releases a film, and rightly so.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults","authors":["byline_arts_13931577"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_11906","arts_11977","arts_14639","arts_977","arts_21156","arts_585","arts_3038"],"featImg":"arts_13931578","label":"arts_140"},"arts_13929913":{"type":"posts","id":"arts_13929913","meta":{"index":"posts_1591205157","site":"arts","id":"13929913","score":null,"sort":[1685654345000]},"guestAuthors":[],"slug":"nelly-nadine-lgbt-documentary-holocaust-apple-amazon-vod-streaming-world-war-two","title":"In ‘Nelly & Nadine,’ Two Women in Love Survive WWII’s Horrors","publishDate":1685654345,"format":"standard","headTitle":"In ‘Nelly & Nadine,’ Two Women in Love Survive WWII’s Horrors | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>On April 28, 1945, footage was taken of 2,000 female concentration camp survivors gathered at the harbor in Malmö, Sweden. Many appear remarkably relaxed, smiling and waving for the camera as it pans past them on the crowded dock. Outside of the excited mass, the camera captures more pensive faces — women whose trauma is etched on their brows, their faces worn from the horrors they’ve experienced. Among them stands a stoic Asian woman, still dressed in her striped concentration camp coat, her face an enigmatic blank.\u003c/p>\n\u003cp>When documentary filmmaker Magnus Gertten saw the footage of that day, he knew he wanted to find out more about as many of the women as he could. Particularly, he was desperate to find out about the mysterious woman in the striped coat. What or who was she thinking about when the camera caught her immovable gaze? Where did she end up? And did she ever find a happy ending?\u003c/p>\n\u003cfigure id=\"attachment_13929953\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929953\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Nadine-800x524.png\" alt=\"An Asian woman wearing a thick striped coat and whit neck scarf knotted at her neck, stares blankly forward, her hair disheveled. \" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Nadine-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Nadine-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Nadine-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Nadine-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Nadine-1536x1006.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Nadine-1920x1257.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Nadine.png 1964w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nadine Hwang, shortly after she was liberated from Ravensbrück, the largest concentration camp for women in Germany. \u003ccite>(‘Nelly & Nadine’)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>New documentary \u003cem>Nelly & Nadine\u003c/em> answers all of those questions over the course of its engrossing 90 minutes. The woman in the archival footage was named Nadine Hwang. The daughter of the Chinese ambassador to Spain, Hwang had lived proudly as a lesbian long before the war, moving in prestigious bohemian and literary circles. While incarcerated at the Ravensbrück concentration camp, she met and fell in love with a singer named Claire “Nelly” Mousset-Vos. Their relationship ultimately helped them both endure the atrocities of World War II; their deep love a powerful catalyst for survival. But standing on the dock that day, Hwang had no idea if the love of her life was even still alive, or if she would ever see her again.\u003c/p>\n\u003cp>The couple’s story, both during and after the war, is told in \u003cem>Nelly & Nadine\u003c/em> via what they so painstakingly left behind: Super 8 home movies, personal correspondence, Hwang’s extensive photo and letter collection and, most importantly, Mousset-Vos’ vivid and heart-wrenching diaries. For decades, Hwang and Mousset-Vos’ personal effects sat in a steel box in the home of the latter’s granddaughter, Sylvie Bianchi — a woman who found herself so heartbroken by its contents, she long refused to read them in any depth. Bianchi’s decision to finally do so is at the center of \u003cem>Nelly & Nadine\u003c/em>. It is her grandmother’s relationship, however, that becomes the film’s heart.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6cVi0gwobeg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The most impactful parts of \u003cem>Nelly & Nadine\u003c/em> can be attributed to excerpts from Mousset-Vos’ extraordinary wartime diaries. Alive with vivid detail, her writings transport the viewer to every sight, smell and anxiety of living in hell on Earth. She is blunt and unflinching when it comes to conveying the true torments of concentration camp incarceration. The directness of her writing is often devastating in its simplicity. “17 women are dead,” she writes at the end of a hellish five-day train journey. “And a baby was born.”\u003c/p>\n\u003cp>At one point, after being transferred from Ravensbrück, Mousset-Vos describes her new location thusly:\u003c/p>\n\u003cblockquote>\u003cp>At the top, crowning the mountain, lies the camp. Mauthausen, the antechamber of hell. We climb down a giant 186-step staircase carved into the rock. It’s the quarry. Our tomb. The air smells of typhus and corpses. You have to fight for a morsel of moldy bread, a sip of water, a place to sleep. A woman lets out a long cry of agony that sounds like a cry of pleasure. How to find the courage to survive?\u003c/p>\u003c/blockquote>\n\u003cp>Mousset-Vos’ writings make plain how the love of Hwang helped her to endure the unimaginable. She wrote of briefly snatched moments of joy when the pair could share measly bread rations and deep conversations. “I find myself looking out for her black hair beneath white scarf,” Mousset-Vos wrote shortly after meeting Hwang, “and her eyes that light up when they see me.”\u003c/p>\n\u003cp>At the end of the war, having both somehow made it out alive, the two corresponded by postcard and letter for a few years before they could be reunited. Once they were, they built a life together in Venezuela — a location chosen to help them erase their memories of the war. Old friends are interviewed in \u003cem>Nelly & Nadine\u003c/em> about the life Hwang and Mousset-Vos shared there, a life well lived and thoroughly enjoyed. It is clear that the couple gave each other — and their friends — permission to live any way they pleased. After what they endured in the war, there was simply no other way to move forward.\u003c/p>\n\u003cp>\u003cem>Nelly & Nadine\u003c/em> is a layered story, richly told. Yes, it offers a new telling of the war from the perspective of a supremely talented writer. And, yes, it speaks to family lineage and the legacies we leave behind. It is about the importance of finding cracks of light in relentless darkness. But above all else, it is a story of magnificent, beautiful LGBTQ love; love that was life-saving first and life-affirming later; love that was embraced and nurtured and valued above all else. And while some of the details in it have the power to devastate, the hope in \u003cem>Nelly & Nadine\u003c/em> shines brighter than everything else. Something that very much reflects the relationship it’s about.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Nellie & Nadine’ begins streaming on June 6, 2023, and is available via Apple TV, Amazon Prime Video, Vudu and Wolfe On Demand.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A new documentary charts the love story of two women who met in a concentration camp — and lived for one another.","status":"publish","parent":0,"modified":1705005427,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":968},"headData":{"title":"‘Nelly & Nadine’ Review: New Documentary Honors LGBTQ Love | KQED","description":"A new documentary charts the love story of two women who met in a concentration camp — and lived for one another.","ogTitle":"In ‘Nelly & Nadine,’ Two Women in Love Survive WWII’s Horrors","ogDescription":"","ogImgId":"","twTitle":"In ‘Nelly & Nadine,’ Two Women in Love Survive WWII’s Horrors","twDescription":"","twImgId":"","socialTitle":"‘Nelly & Nadine’ Review: New Documentary Honors LGBTQ Love %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"In ‘Nelly & Nadine,’ Two Women in Love Survive WWII’s Horrors","datePublished":"2023-06-01T21:19:05.000Z","dateModified":"2024-01-11T20:37:07.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13929913/nelly-nadine-lgbt-documentary-holocaust-apple-amazon-vod-streaming-world-war-two","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On April 28, 1945, footage was taken of 2,000 female concentration camp survivors gathered at the harbor in Malmö, Sweden. Many appear remarkably relaxed, smiling and waving for the camera as it pans past them on the crowded dock. Outside of the excited mass, the camera captures more pensive faces — women whose trauma is etched on their brows, their faces worn from the horrors they’ve experienced. Among them stands a stoic Asian woman, still dressed in her striped concentration camp coat, her face an enigmatic blank.\u003c/p>\n\u003cp>When documentary filmmaker Magnus Gertten saw the footage of that day, he knew he wanted to find out more about as many of the women as he could. Particularly, he was desperate to find out about the mysterious woman in the striped coat. What or who was she thinking about when the camera caught her immovable gaze? Where did she end up? And did she ever find a happy ending?\u003c/p>\n\u003cfigure id=\"attachment_13929953\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929953\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Nadine-800x524.png\" alt=\"An Asian woman wearing a thick striped coat and whit neck scarf knotted at her neck, stares blankly forward, her hair disheveled. \" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Nadine-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Nadine-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Nadine-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Nadine-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Nadine-1536x1006.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Nadine-1920x1257.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Nadine.png 1964w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nadine Hwang, shortly after she was liberated from Ravensbrück, the largest concentration camp for women in Germany. \u003ccite>(‘Nelly & Nadine’)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>New documentary \u003cem>Nelly & Nadine\u003c/em> answers all of those questions over the course of its engrossing 90 minutes. The woman in the archival footage was named Nadine Hwang. The daughter of the Chinese ambassador to Spain, Hwang had lived proudly as a lesbian long before the war, moving in prestigious bohemian and literary circles. While incarcerated at the Ravensbrück concentration camp, she met and fell in love with a singer named Claire “Nelly” Mousset-Vos. Their relationship ultimately helped them both endure the atrocities of World War II; their deep love a powerful catalyst for survival. But standing on the dock that day, Hwang had no idea if the love of her life was even still alive, or if she would ever see her again.\u003c/p>\n\u003cp>The couple’s story, both during and after the war, is told in \u003cem>Nelly & Nadine\u003c/em> via what they so painstakingly left behind: Super 8 home movies, personal correspondence, Hwang’s extensive photo and letter collection and, most importantly, Mousset-Vos’ vivid and heart-wrenching diaries. For decades, Hwang and Mousset-Vos’ personal effects sat in a steel box in the home of the latter’s granddaughter, Sylvie Bianchi — a woman who found herself so heartbroken by its contents, she long refused to read them in any depth. Bianchi’s decision to finally do so is at the center of \u003cem>Nelly & Nadine\u003c/em>. It is her grandmother’s relationship, however, that becomes the film’s heart.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6cVi0gwobeg'\n title='//www.youtube.com/embed/6cVi0gwobeg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The most impactful parts of \u003cem>Nelly & Nadine\u003c/em> can be attributed to excerpts from Mousset-Vos’ extraordinary wartime diaries. Alive with vivid detail, her writings transport the viewer to every sight, smell and anxiety of living in hell on Earth. She is blunt and unflinching when it comes to conveying the true torments of concentration camp incarceration. The directness of her writing is often devastating in its simplicity. “17 women are dead,” she writes at the end of a hellish five-day train journey. “And a baby was born.”\u003c/p>\n\u003cp>At one point, after being transferred from Ravensbrück, Mousset-Vos describes her new location thusly:\u003c/p>\n\u003cblockquote>\u003cp>At the top, crowning the mountain, lies the camp. Mauthausen, the antechamber of hell. We climb down a giant 186-step staircase carved into the rock. It’s the quarry. Our tomb. The air smells of typhus and corpses. You have to fight for a morsel of moldy bread, a sip of water, a place to sleep. A woman lets out a long cry of agony that sounds like a cry of pleasure. How to find the courage to survive?\u003c/p>\u003c/blockquote>\n\u003cp>Mousset-Vos’ writings make plain how the love of Hwang helped her to endure the unimaginable. She wrote of briefly snatched moments of joy when the pair could share measly bread rations and deep conversations. “I find myself looking out for her black hair beneath white scarf,” Mousset-Vos wrote shortly after meeting Hwang, “and her eyes that light up when they see me.”\u003c/p>\n\u003cp>At the end of the war, having both somehow made it out alive, the two corresponded by postcard and letter for a few years before they could be reunited. Once they were, they built a life together in Venezuela — a location chosen to help them erase their memories of the war. Old friends are interviewed in \u003cem>Nelly & Nadine\u003c/em> about the life Hwang and Mousset-Vos shared there, a life well lived and thoroughly enjoyed. It is clear that the couple gave each other — and their friends — permission to live any way they pleased. After what they endured in the war, there was simply no other way to move forward.\u003c/p>\n\u003cp>\u003cem>Nelly & Nadine\u003c/em> is a layered story, richly told. Yes, it offers a new telling of the war from the perspective of a supremely talented writer. And, yes, it speaks to family lineage and the legacies we leave behind. It is about the importance of finding cracks of light in relentless darkness. But above all else, it is a story of magnificent, beautiful LGBTQ love; love that was life-saving first and life-affirming later; love that was embraced and nurtured and valued above all else. And while some of the details in it have the power to devastate, the hope in \u003cem>Nelly & Nadine\u003c/em> shines brighter than everything else. Something that very much reflects the relationship it’s about.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Nellie & Nadine’ begins streaming on June 6, 2023, and is available via Apple TV, Amazon Prime Video, Vudu and Wolfe On Demand.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13929913/nelly-nadine-lgbt-documentary-holocaust-apple-amazon-vod-streaming-world-war-two","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_7862","arts_74"],"tags":["arts_13672","arts_10278","arts_9830","arts_3226","arts_7128","arts_17291","arts_585","arts_3038"],"featImg":"arts_13929918","label":"arts_140"},"arts_13927861":{"type":"posts","id":"arts_13927861","meta":{"index":"posts_1591205157","site":"arts","id":"13927861","score":null,"sort":[1681754728000]},"guestAuthors":[],"slug":"scholastic-wanted-to-license-her-childrens-book-if-she-cut-a-part-about-racism","title":"Scholastic Wanted to License Her Children’s Book — if She Cut a Part About ‘Racism’","publishDate":1681754728,"format":"aside","headTitle":"Scholastic Wanted to License Her Children’s Book — if She Cut a Part About ‘Racism’ | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cfigure id=\"attachment_13927862\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927862\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/litl_custom-90e0e303bdd9319c3cc4a2288c813f52af1159c8-e1681753318427-800x715.jpg\" alt=\"An illustration shows a young man carrying a pile of books and a young woman sitting on the floor reading one. They are between two rows of bookcases. Through the window behind them, barbed wire and a guard tower is visible.\" width=\"800\" height=\"715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/litl_custom-90e0e303bdd9319c3cc4a2288c813f52af1159c8-e1681753318427-800x715.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/litl_custom-90e0e303bdd9319c3cc4a2288c813f52af1159c8-e1681753318427-1020x911.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/litl_custom-90e0e303bdd9319c3cc4a2288c813f52af1159c8-e1681753318427-160x143.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/litl_custom-90e0e303bdd9319c3cc4a2288c813f52af1159c8-e1681753318427-768x686.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/litl_custom-90e0e303bdd9319c3cc4a2288c813f52af1159c8-e1681753318427-1536x1372.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/litl_custom-90e0e303bdd9319c3cc4a2288c813f52af1159c8-e1681753318427.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Love in the Library’, a children’s book written by Maggie Tokuda-Hall and illustrated by Yas Imamura, is a love story about finding hope in a dire setting: an internment camp where the U.S. detained Japanese Americans during World War II. \u003ccite>(Candlewick Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Maggie Tokuda-Hall was thrilled when she first saw the offer from the publishing giant.\u003c/p>\n\u003cp>Scholastic wanted to license her 2022 children’s book \u003cem>Love in the Library\u003c/em>. The deal would draw a wider audience to\u003ca href=\"https://www.prettyokmaggie.com/press-kit-love-in-the-library\"> her book\u003c/a> — a love story set in a World War II incarceration camp for Japanese Americans and inspired by her grandparents, about the improbable joy found “in a place built to make people feel like they weren’t human.”\u003c/p>\n\u003cp>Then she read Scholastic’s suggested revisions to her book, included in the same email as the offer news. Her excitement at the opportunity was almost immediately tempered.\u003c/p>\n\u003cp>[aside postid='arts_13927219']The publisher\u003cstrong>‘\u003c/strong>s only suggested edit was to the author’s note: Scholastic had crossed out a key section that references “the deeply American tradition of racism” to describe the tale’s real-life historical backdrop — a time when the U.S. government forcibly relocated more than 120,000 Japanese Americans to dozens of internment sites from 1942-1945.\u003c/p>\n\u003cp>Scholastic gave its reasons for the suggested change in an email to the author and her original publisher, Candlewick Press, citing a “politically sensitive” moment for its market and a worry that the section “goes beyond what some teachers are willing to cover with the kids in their elementary classrooms.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This could lead to teachers declining to use the book, which would be a shame,” Scholastic’s email said.\u003c/p>\n\u003cp>The deal with Scholastic was contingent on not only nixing that section, according to the author, but removing the word “racism” from the author’s note entirely.\u003c/p>\n\u003cfigure id=\"attachment_13927867\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927867\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.47.01-AM-800x355.png\" alt=\"A double page spread titled Author's Note, with sections of text highlighted in red.\" width=\"800\" height=\"355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.47.01-AM-800x355.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.47.01-AM-1020x453.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.47.01-AM-160x71.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.47.01-AM-768x341.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.47.01-AM-1536x682.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.47.01-AM.png 1694w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scholastic made the suggested revisions above to Tokuda-Hall’s book in an attachment it sent to her original publisher. “They wanted to take this book and repackage it so that it was just a simple love story,” the author wrote on her blog. \u003ccite>(Prettyokmaggie.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Infuriated by what she called a “horrific demand for censorship,” Tokuda-Hall gave Scholastic a hard no.\u003c/p>\n\u003cp>The author called the offer deeply offensive in an email to Candlewick Press, which passed along Scholastic’s proposal, a response she \u003ca href=\"https://www.prettyokmaggie.com/blog/2023/4/11/scholastic-and-a-faustian-bargain\">posted publicly to her website\u003c/a> on Tuesday.\u003c/p>\n\u003cp>“I’m typically a very compromising person,” the Oakland, Calif.-based author, who is Asian American, told NPR. “But when you omit the word racism from a story about the mass incarceration of a single group of people based on their race, there’s no compromise to be had with that if you can’t agree on basic facts.”\u003c/p>\n\u003cp>Without its proper context, she said, the story “runs the risk of just being like a lovely little love story. And that’s not what it is. To pretend otherwise would do a disservice not just to [my grandparents], but also to the 120,000 other people who were incarcerated at the time.”\u003c/p>\n\u003ch3>Scholastic issues an apology\u003c/h3>\n\u003cp>Two days after the author first spoke out about the offer, Scholastic said it had apologized to Tokuda-Hall for its editing approach, in a statement sent to NPR on Thursday night.\u003c/p>\n\u003cp>[aside postid='arts_13926336']“In our initial outreach we suggested edits to Ms. Tokuda-Hall’s author’s note,” the company’s CEO Peter Warwick wrote in a statement. “This approach was wrong and not in keeping with Scholastic’s values. We don’t want to diminish or in any way minimize the racism that tragically persists against Asian-Americans.”\u003c/p>\n\u003cp>Scholastic said that during the process it had failed to consult its “mentors” for the Rising Voices collection — authors and educators from Asian American, Native Hawaiian and Pacific Islander communities — and has since reached out to them to hear their concerns. “We must never do this again,” Warwick wrote.\u003c/p>\n\u003cp>Scholastic, which had planned to feature \u003cem>Love in the Library\u003c/em> as part of its “Rising Voices Library” collection highlighting voices, said it hopes to restart the conversation with Tokuda-Hall with the aim of sharing the book with the author’s note unchanged.\u003c/p>\n\u003cp>It’s not yet clear whether Tokuda-Hall will consider their revised offer.\u003c/p>\n\u003cp>“That conversation is not concluded and so I do not have any comment yet,” she told NPR in an email.\u003c/p>\n\u003cfigure id=\"attachment_13927868\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927868\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.50.04-AM-800x1003.png\" alt=\"A young Asian-American woman wearing a spotted dress and denim jacket smiles warmly. She had long black hair.\" width=\"800\" height=\"1003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.50.04-AM-800x1003.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.50.04-AM-160x201.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.50.04-AM-768x963.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.50.04-AM.png 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maggie Tokuda-Hall is based in Oakland. \u003ccite>(Red Scott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The author says publishers are silencing marginalized voices\u003c/h3>\n\u003cp>To Tokuda-Hall, her experience with Scholastic is another instance in which publishers are yielding to conservative advocacy groups in the face of recent\u003ca href=\"https://www.npr.org/2023/03/23/1164284891/book-bans-school-libraries-florida\"> battles over book bans and author censorship\u003c/a>.\u003c/p>\n\u003cp>In one case, a Florida textbook publisher removed all explicit references to race from its lesson materials about civil rights icon Rosa Parks in order to win approval from Florida’s Department of Education, \u003ca href=\"https://www.nytimes.com/2023/03/16/us/florida-textbooks-african-american-history.html\">\u003cem>The New York Times\u003c/em> reported last month.\u003c/a>\u003c/p>\n\u003cp>Publishers, she wrote on her website before the Scholastic apology, “want to sell our suffering, smoothed down and made palatable to the white readers they prioritize. … Our voices are the first sacrifice at the altar of marketability.”\u003c/p>\n\u003cp>[aside postid='arts_13926136']It’s impossible to put a price on what Tokuda-Hall may sacrifice from rejecting the deal with Scholastic, a trusted, powerhouse publisher in the children’s market that affords authors exposure. She feared that speaking publicly about the offer could harm her reputation and career.\u003c/p>\n\u003cp>“Children’s book authors — we’re fighting over nickels. It’s not exactly gangbusters, this industry,” she said. “So, when you’re presented with any opportunity to get your story, and particularly a story that you deeply believe in, in front of more eyes, it’s a huge opportunity.”\u003c/p>\n\u003cp>But she thinks kids and their families have the most to lose from situations like this.\u003c/p>\n\u003cp>“I think they’re losing the opportunity to talk about the truth, to learn the truth, to discuss it,” she said. “No substantive change for the better can be made without reconciliation with the truth.”\u003c/p>\n\u003cp>Since going public with her experience, the author says, she’s heard from other marginalized writers and people in the publishing industry — largely people of color and queer people, she says — who have also had to make difficult choices about their work and how its presented.\u003c/p>\n\u003cp>“My DMs have been absolutely full,” she said. “People sharing pretty horrific stories that they’re just too afraid to share in public.”\u003c/p>\n\u003cp>Some authors and others in the publishing world responded publicly in support of Tokuda-Hall.\u003c/p>\n\u003cp>“By refusing to let this story be situated in context of government oppression and enslavement of other marginalized groups, past and present, It makes it safe for them to say ‘historically, mistakes were made, but look at how successful Japanese American communities are now,’ ” \u003ca href=\"https://twitter.com/dongwon/status/1646274879770046465?s=20\">literary agent DongWon Song\u003c/a> tweeted. “This is white supremacy. This is how it operates.”\u003c/p>\n\u003cp>Author Martha Brockenbrough has collected close to 400 signatures \u003ca href=\"https://twitter.com/mbrockenbrough/status/1646630393024770048?s=20\">on a letter to Scholastic\u003c/a> calling on the publisher to feature \u003cem>Love in the Library\u003c/em> without edits.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Before she received Scholastic’s apology, Tokuda-Hall said that, whether or not the publisher apologizes, her “greatest fear is that this is a momentary flurry of outrage, but nothing changes. And other creators are asked to make horrible choices like this going forward in the dark.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Scholastic+wanted+to+license+her+children%27s+book+%E2%80%94+if+she+cut+a+part+about+%27racism%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Oakland author Maggie Tokuda-Hall was thrilled when the publisher offered her a deal for her story — then she read the edits.","status":"publish","parent":0,"modified":1705005617,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":32,"wordCount":1333},"headData":{"title":"Oakland Author Asked to Remove Racism Reference by Scholastic | KQED","description":"Oakland author Maggie Tokuda-Hall was thrilled when the publisher offered her a deal for her story — then she read the edits.","ogTitle":"Scholastic Wanted to License Her Children’s Book — if She Cut a Part About ‘Racism’","ogDescription":"","ogImgId":"","twTitle":"Scholastic Wanted to License Her Children’s Book — if She Cut a Part About ‘Racism’","twDescription":"","twImgId":"","socialTitle":"Oakland Author Asked to Remove Racism Reference by Scholastic %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Scholastic Wanted to License Her Children’s Book — if She Cut a Part About ‘Racism’","datePublished":"2023-04-17T18:05:28.000Z","dateModified":"2024-01-11T20:40:17.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Emma Bowman","nprImageAgency":"Candlewick Press","nprStoryId":"1169848627","nprApiLink":"http://api.npr.org/query?id=1169848627&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2023/04/15/1169848627/scholastic-childrens-book-racism?ft=nprml&f=1169848627","nprRetrievedStory":"1","nprPubDate":"Sat, 15 Apr 2023 07:51:00 -0400","nprStoryDate":"Sat, 15 Apr 2023 07:51:24 -0400","nprLastModifiedDate":"Sat, 15 Apr 2023 07:51:24 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13927861/scholastic-wanted-to-license-her-childrens-book-if-she-cut-a-part-about-racism","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13927862\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927862\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/litl_custom-90e0e303bdd9319c3cc4a2288c813f52af1159c8-e1681753318427-800x715.jpg\" alt=\"An illustration shows a young man carrying a pile of books and a young woman sitting on the floor reading one. They are between two rows of bookcases. Through the window behind them, barbed wire and a guard tower is visible.\" width=\"800\" height=\"715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/litl_custom-90e0e303bdd9319c3cc4a2288c813f52af1159c8-e1681753318427-800x715.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/litl_custom-90e0e303bdd9319c3cc4a2288c813f52af1159c8-e1681753318427-1020x911.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/litl_custom-90e0e303bdd9319c3cc4a2288c813f52af1159c8-e1681753318427-160x143.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/litl_custom-90e0e303bdd9319c3cc4a2288c813f52af1159c8-e1681753318427-768x686.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/litl_custom-90e0e303bdd9319c3cc4a2288c813f52af1159c8-e1681753318427-1536x1372.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/litl_custom-90e0e303bdd9319c3cc4a2288c813f52af1159c8-e1681753318427.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Love in the Library’, a children’s book written by Maggie Tokuda-Hall and illustrated by Yas Imamura, is a love story about finding hope in a dire setting: an internment camp where the U.S. detained Japanese Americans during World War II. \u003ccite>(Candlewick Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Maggie Tokuda-Hall was thrilled when she first saw the offer from the publishing giant.\u003c/p>\n\u003cp>Scholastic wanted to license her 2022 children’s book \u003cem>Love in the Library\u003c/em>. The deal would draw a wider audience to\u003ca href=\"https://www.prettyokmaggie.com/press-kit-love-in-the-library\"> her book\u003c/a> — a love story set in a World War II incarceration camp for Japanese Americans and inspired by her grandparents, about the improbable joy found “in a place built to make people feel like they weren’t human.”\u003c/p>\n\u003cp>Then she read Scholastic’s suggested revisions to her book, included in the same email as the offer news. Her excitement at the opportunity was almost immediately tempered.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13927219","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The publisher\u003cstrong>‘\u003c/strong>s only suggested edit was to the author’s note: Scholastic had crossed out a key section that references “the deeply American tradition of racism” to describe the tale’s real-life historical backdrop — a time when the U.S. government forcibly relocated more than 120,000 Japanese Americans to dozens of internment sites from 1942-1945.\u003c/p>\n\u003cp>Scholastic gave its reasons for the suggested change in an email to the author and her original publisher, Candlewick Press, citing a “politically sensitive” moment for its market and a worry that the section “goes beyond what some teachers are willing to cover with the kids in their elementary classrooms.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This could lead to teachers declining to use the book, which would be a shame,” Scholastic’s email said.\u003c/p>\n\u003cp>The deal with Scholastic was contingent on not only nixing that section, according to the author, but removing the word “racism” from the author’s note entirely.\u003c/p>\n\u003cfigure id=\"attachment_13927867\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927867\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.47.01-AM-800x355.png\" alt=\"A double page spread titled Author's Note, with sections of text highlighted in red.\" width=\"800\" height=\"355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.47.01-AM-800x355.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.47.01-AM-1020x453.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.47.01-AM-160x71.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.47.01-AM-768x341.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.47.01-AM-1536x682.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.47.01-AM.png 1694w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scholastic made the suggested revisions above to Tokuda-Hall’s book in an attachment it sent to her original publisher. “They wanted to take this book and repackage it so that it was just a simple love story,” the author wrote on her blog. \u003ccite>(Prettyokmaggie.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Infuriated by what she called a “horrific demand for censorship,” Tokuda-Hall gave Scholastic a hard no.\u003c/p>\n\u003cp>The author called the offer deeply offensive in an email to Candlewick Press, which passed along Scholastic’s proposal, a response she \u003ca href=\"https://www.prettyokmaggie.com/blog/2023/4/11/scholastic-and-a-faustian-bargain\">posted publicly to her website\u003c/a> on Tuesday.\u003c/p>\n\u003cp>“I’m typically a very compromising person,” the Oakland, Calif.-based author, who is Asian American, told NPR. “But when you omit the word racism from a story about the mass incarceration of a single group of people based on their race, there’s no compromise to be had with that if you can’t agree on basic facts.”\u003c/p>\n\u003cp>Without its proper context, she said, the story “runs the risk of just being like a lovely little love story. And that’s not what it is. To pretend otherwise would do a disservice not just to [my grandparents], but also to the 120,000 other people who were incarcerated at the time.”\u003c/p>\n\u003ch3>Scholastic issues an apology\u003c/h3>\n\u003cp>Two days after the author first spoke out about the offer, Scholastic said it had apologized to Tokuda-Hall for its editing approach, in a statement sent to NPR on Thursday night.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13926336","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“In our initial outreach we suggested edits to Ms. Tokuda-Hall’s author’s note,” the company’s CEO Peter Warwick wrote in a statement. “This approach was wrong and not in keeping with Scholastic’s values. We don’t want to diminish or in any way minimize the racism that tragically persists against Asian-Americans.”\u003c/p>\n\u003cp>Scholastic said that during the process it had failed to consult its “mentors” for the Rising Voices collection — authors and educators from Asian American, Native Hawaiian and Pacific Islander communities — and has since reached out to them to hear their concerns. “We must never do this again,” Warwick wrote.\u003c/p>\n\u003cp>Scholastic, which had planned to feature \u003cem>Love in the Library\u003c/em> as part of its “Rising Voices Library” collection highlighting voices, said it hopes to restart the conversation with Tokuda-Hall with the aim of sharing the book with the author’s note unchanged.\u003c/p>\n\u003cp>It’s not yet clear whether Tokuda-Hall will consider their revised offer.\u003c/p>\n\u003cp>“That conversation is not concluded and so I do not have any comment yet,” she told NPR in an email.\u003c/p>\n\u003cfigure id=\"attachment_13927868\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927868\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.50.04-AM-800x1003.png\" alt=\"A young Asian-American woman wearing a spotted dress and denim jacket smiles warmly. She had long black hair.\" width=\"800\" height=\"1003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.50.04-AM-800x1003.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.50.04-AM-160x201.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.50.04-AM-768x963.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.50.04-AM.png 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maggie Tokuda-Hall is based in Oakland. \u003ccite>(Red Scott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The author says publishers are silencing marginalized voices\u003c/h3>\n\u003cp>To Tokuda-Hall, her experience with Scholastic is another instance in which publishers are yielding to conservative advocacy groups in the face of recent\u003ca href=\"https://www.npr.org/2023/03/23/1164284891/book-bans-school-libraries-florida\"> battles over book bans and author censorship\u003c/a>.\u003c/p>\n\u003cp>In one case, a Florida textbook publisher removed all explicit references to race from its lesson materials about civil rights icon Rosa Parks in order to win approval from Florida’s Department of Education, \u003ca href=\"https://www.nytimes.com/2023/03/16/us/florida-textbooks-african-american-history.html\">\u003cem>The New York Times\u003c/em> reported last month.\u003c/a>\u003c/p>\n\u003cp>Publishers, she wrote on her website before the Scholastic apology, “want to sell our suffering, smoothed down and made palatable to the white readers they prioritize. … Our voices are the first sacrifice at the altar of marketability.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13926136","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>It’s impossible to put a price on what Tokuda-Hall may sacrifice from rejecting the deal with Scholastic, a trusted, powerhouse publisher in the children’s market that affords authors exposure. She feared that speaking publicly about the offer could harm her reputation and career.\u003c/p>\n\u003cp>“Children’s book authors — we’re fighting over nickels. It’s not exactly gangbusters, this industry,” she said. “So, when you’re presented with any opportunity to get your story, and particularly a story that you deeply believe in, in front of more eyes, it’s a huge opportunity.”\u003c/p>\n\u003cp>But she thinks kids and their families have the most to lose from situations like this.\u003c/p>\n\u003cp>“I think they’re losing the opportunity to talk about the truth, to learn the truth, to discuss it,” she said. “No substantive change for the better can be made without reconciliation with the truth.”\u003c/p>\n\u003cp>Since going public with her experience, the author says, she’s heard from other marginalized writers and people in the publishing industry — largely people of color and queer people, she says — who have also had to make difficult choices about their work and how its presented.\u003c/p>\n\u003cp>“My DMs have been absolutely full,” she said. “People sharing pretty horrific stories that they’re just too afraid to share in public.”\u003c/p>\n\u003cp>Some authors and others in the publishing world responded publicly in support of Tokuda-Hall.\u003c/p>\n\u003cp>“By refusing to let this story be situated in context of government oppression and enslavement of other marginalized groups, past and present, It makes it safe for them to say ‘historically, mistakes were made, but look at how successful Japanese American communities are now,’ ” \u003ca href=\"https://twitter.com/dongwon/status/1646274879770046465?s=20\">literary agent DongWon Song\u003c/a> tweeted. “This is white supremacy. This is how it operates.”\u003c/p>\n\u003cp>Author Martha Brockenbrough has collected close to 400 signatures \u003ca href=\"https://twitter.com/mbrockenbrough/status/1646630393024770048?s=20\">on a letter to Scholastic\u003c/a> calling on the publisher to feature \u003cem>Love in the Library\u003c/em> without edits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Before she received Scholastic’s apology, Tokuda-Hall said that, whether or not the publisher apologizes, her “greatest fear is that this is a momentary flurry of outrage, but nothing changes. And other creators are asked to make horrible choices like this going forward in the dark.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Scholastic+wanted+to+license+her+children%27s+book+%E2%80%94+if+she+cut+a+part+about+%27racism%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13927861/scholastic-wanted-to-license-her-childrens-book-if-she-cut-a-part-about-racism","authors":["byline_arts_13927861"],"categories":["arts_1","arts_73","arts_7862"],"tags":["arts_11007","arts_928","arts_4922","arts_3038"],"affiliates":["arts_137"],"featImg":"arts_13927866","label":"arts_137"},"arts_13912145":{"type":"posts","id":"arts_13912145","meta":{"index":"posts_1591205157","site":"arts","id":"13912145","score":null,"sort":[1650496648000]},"guestAuthors":[],"slug":"hbo-harry-haft-biopic-holocaust-the-survivor-true-story","title":"HBO's 'The Survivor' Shields Viewers From Harry Haft's Whole Truth","publishDate":1650496648,"format":"standard","headTitle":"HBO’s ‘The Survivor’ Shields Viewers From Harry Haft’s Whole Truth | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>There is a plethora of books and films available that portray the unfathomably cruel acts rendered commonplace during World War II. The most effective ones tend to tighten focus on individual accounts, with all of their small and devastating details. These stories do the work of making the atrocities more tangible to those of us several generations removed.\u003c/p>\n\u003cp>Hertzko “Harry” Haft’s life story is one such tale, but it raises more moral quandaries than most.\u003c/p>\n\u003cp>Haft was a Polish Jew who survived Auschwitz by bare-knuckle boxing with other prisoners at the behest—and for the entertainment—of SS guards. Haft was protected and provided with food by an officer named Schneider as long as the prisoner continued to fight. Schneider saved Haft time and time again, not just because Haft provided the guard with entertainment. Schneider was also motivated by a promise that Haft made to relay the officer’s good deeds to the allies if the German was ever captured.\u003c/p>\n\u003cp>[aside postid='arts_13877930']In Haft’s time at Auschwitz, he won all of his boxing matches, declared winner only after he had knocked out his rival. To lose the match would be to lose his life: all 76 of his opponents were immediately killed by either a bullet or the gas chamber upon defeat.\u003c/p>\n\u003cp>At the end of the war, aged 21 and having been imprisoned in seven concentration camps in five years, Haft made a dramatic escape from a Nazi death march, and began a new life in Brooklyn. He continued boxing for years after the war, his most famous fight against Rocky Marciano, one of the all-time greats. “After all I’ve been through,” Haft famously said in 1948, “what harm can a man with gloves on his hands do me?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You can read the details of Haft’s fascinating life in Reinhard Kleist’s excellent 2012 graphic novel \u003ca href=\"https://www.reinhard-kleist.de/en/comics/the-boxer/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Boxer\u003c/em>\u003c/a>, and in \u003ca href=\"https://www.goodreads.com/en/book/show/627025.Harry_Haft\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Harry Haft\u003c/em>\u003c/a>, the 2006 biography by Haft’s son Alan Scott Haft, on which the graphic novel was based. Now comes HBO’s \u003cem>The Survivor\u003c/em>, a biopic directed by Barry Levinson (\u003cem>Rain Man\u003c/em>, \u003cem>Wag the Dog\u003c/em>), and consulted on by the \u003ca href=\"https://sfi.usc.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">USC Shoah Foundation\u003c/a>—an organization that collects Holocaust survivor stories.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=s0ETYBNs6ZA\u003c/p>\n\u003cp>\u003cem>The Survivor\u003c/em> benefits, first and foremost, from beautiful direction and an excellent cast. Ben Foster is unrecognizable as Haft, and entirely convincing at every gut-wrenching step of his performance. During scenes at Auschwitz, Foster embodies the expressions of a desperate human living perpetually in survival mode. For Haft’s early days in Brooklyn, Foster effectively captures the torment of a person attempting to live a normal life after surviving a living hell. And for Haft’s later years, Foster allows his performance to take on the gnarled and calloused edges of a man who never came to terms with what happened to him.\u003c/p>\n\u003cp>At Foster’s side in Haft’s post-war boxing world are scene-stealing performances by John Leguizamo (who plays Haft’s trainer, Pepe) and Danny DeVito (as Rocky Marciano’s trainer Charley Goldman, who secretly gave Hast tips before the big fight). Both Leguizamo and DeVito imbue the film with much-needed moments of light and humor. Meanwhile, Vicky Krieps’s portrayal of Haft’s wife, Miriam Wofsoniker, includes just the right combination of sympathy, sensitivity and frustration.\u003c/p>\n\u003cp>[aside postid='arts_13874146']\u003cem>The Survivor\u003c/em> is a stunning and heart-wrenching portrayal of one man’s literal fight to survive, and the deep emotional scars it left behind. The film quietly asks thought-provoking questions about morality, spirituality, trauma and the meaning of true strength. And the broad arc of Haft’s story, as presented here, is accurate. Where \u003cem>The Survivor\u003c/em> falters is in its compulsion to insert Hollywood versions of events in place of real-life details that would have more than sufficed. And it goes far beyond small instances of artistic license.\u003c/p>\n\u003cp>For one, the biopic glosses over the abuse to which Haft subjected his son Alan later in life. “You’re talking about a Holocaust survivor who’s got PTSD,” Alan once said of writing his father’s biography, “talking to a second-generation Holocaust survivor who’s got PTSD from having survived growing up with him.”\u003c/p>\n\u003cp>In addition, \u003cem>The Survivor\u003c/em> creates a fictional backstory for the relationship Haft had with his wife, lest the true story be deemed unromantic. In reality, Haft and Wofsoniker were neighbors who married just a week after meeting, in part because the elderly woman Haft was boarding with had died, rendering him homeless.\u003c/p>\n\u003cp>Yes, \u003cem>The Survivor\u003c/em> grittily recreates Haft’s fights at Auschwitz as he later relayed them to his son—often, fights with men far too depleted to defend themselves. There’s a harrowing depiction of the fight Haft had to win against a champion French heavyweight brought to Auschwitz by Berlin generals. But the filmmakers, apparently unsure whether the truth would suitably move the audience, also concoct a fictional scenario in which Haft is forced to fight a dear friend. This scene is taken to such an overwrought conclusion that one can only hope viewers recognize it as a fabrication. (I was compelled to fact-check it the moment it was over.)\u003c/p>\n\u003cfigure id=\"attachment_13912202\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912202\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/schneider-800x515.png\" alt=\"An emaciated shirtless man with a shaved head stands with a look of steely determination. Opposite a nazi SS officer gives him instructions. Behind them, fences and other soldiers are visible.\" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/schneider-800x515.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/schneider-1020x656.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/schneider-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/schneider-768x494.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/schneider-1536x988.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/schneider-2048x1318.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/schneider-1920x1235.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ben Foster as Harry Haft and Billy Magnussen as Dietrich Schneider, the SS officer who saved Haft’s life repeatedly, as long as the young man agreed to box. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Survivor\u003c/em> consistently rewrites Haft’s story to raise the emotional stakes. The conclusion presented for the relationship between Haft and SS officer Schneider is entirely (and depressingly) fabricated. Worse, tying the two men’s story up in a neat little bow impacts how \u003cem>The Survivor\u003c/em> presents Haft’s real-life escape—a story absolutely worth telling. Is the movie version more satisfying than what really happened? Of course. But at this stage in history, surely telling the truth about every detail of the Holocaust is more important.\u003c/p>\n\u003cp>The truth is that Haft’s daring escape also involved killing three civilians. While on the run, Haft killed an SS officer, stole his uniform and, shortly after, took shelter in the home of an elderly German couple. After they had welcomed him in, given him food and the chance to bathe, Haft grew fearful of being discovered as an imposter and shot them both dead. Further down the road, when a woman recognized that he was neither German nor a soldier, Haft shot her dead and told her young son to hide.\u003c/p>\n\u003cp>[aside postid='arts_13908730']Erasing the dark reality of what Haft did in pursuit of his own freedom might, on the surface, make sense: it renders Haft a more sympathetic protagonist. But this is a two-hour biopic that repeatedly asks the viewer to think about the lengths to which we might go to survive an abhorrent situation. Denying us a full picture of what Haft did to make it out alive seems in direct opposition to the movie’s primary goals.\u003c/p>\n\u003cp>In the end, \u003cem>The Survivor—\u003c/em>while compelling and impactful—squanders the opportunity to tell Harry Haft’s story as he himself was willing to do. This truth is especially important at a time when few Holocaust survivors are around to tell us exactly what happened to them. (Haft died in 2007.)\u003c/p>\n\u003cp>Changing these details wasn’t just unnecessary, it also implies Haft’s life wasn’t quite good enough, or sad enough, to tell honestly. In so doing, the project arguably passes judgment on a man who was, in impossible circumstances, simply trying to stay alive.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘The Survivor’ premieres on Holocaust Remembrance Day, Wednesday April 27, on HBO.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The new biopic about a Holocaust survivor is compelling and beautifully directed—but omits important, complicated details.","status":"publish","parent":0,"modified":1705006952,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1330},"headData":{"title":"Review: HBO's Harry Haft Biopic, 'The Survivor' | KQED","description":"The new biopic about a Holocaust survivor is compelling and beautifully directed—but omits important, complicated details.","ogTitle":"HBO's 'The Survivor' Shields Viewers From Harry Haft's Whole Truth","ogDescription":"","ogImgId":"","twTitle":"HBO's 'The Survivor' Shields Viewers From Harry Haft's Whole Truth","twDescription":"","twImgId":"","socialTitle":"Review: HBO's Harry Haft Biopic, 'The Survivor' %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"HBO's 'The Survivor' Shields Viewers From Harry Haft's Whole Truth","datePublished":"2022-04-20T23:17:28.000Z","dateModified":"2024-01-11T21:02:32.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13912145/hbo-harry-haft-biopic-holocaust-the-survivor-true-story","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is a plethora of books and films available that portray the unfathomably cruel acts rendered commonplace during World War II. The most effective ones tend to tighten focus on individual accounts, with all of their small and devastating details. These stories do the work of making the atrocities more tangible to those of us several generations removed.\u003c/p>\n\u003cp>Hertzko “Harry” Haft’s life story is one such tale, but it raises more moral quandaries than most.\u003c/p>\n\u003cp>Haft was a Polish Jew who survived Auschwitz by bare-knuckle boxing with other prisoners at the behest—and for the entertainment—of SS guards. Haft was protected and provided with food by an officer named Schneider as long as the prisoner continued to fight. Schneider saved Haft time and time again, not just because Haft provided the guard with entertainment. Schneider was also motivated by a promise that Haft made to relay the officer’s good deeds to the allies if the German was ever captured.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13877930","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In Haft’s time at Auschwitz, he won all of his boxing matches, declared winner only after he had knocked out his rival. To lose the match would be to lose his life: all 76 of his opponents were immediately killed by either a bullet or the gas chamber upon defeat.\u003c/p>\n\u003cp>At the end of the war, aged 21 and having been imprisoned in seven concentration camps in five years, Haft made a dramatic escape from a Nazi death march, and began a new life in Brooklyn. He continued boxing for years after the war, his most famous fight against Rocky Marciano, one of the all-time greats. “After all I’ve been through,” Haft famously said in 1948, “what harm can a man with gloves on his hands do me?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You can read the details of Haft’s fascinating life in Reinhard Kleist’s excellent 2012 graphic novel \u003ca href=\"https://www.reinhard-kleist.de/en/comics/the-boxer/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Boxer\u003c/em>\u003c/a>, and in \u003ca href=\"https://www.goodreads.com/en/book/show/627025.Harry_Haft\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Harry Haft\u003c/em>\u003c/a>, the 2006 biography by Haft’s son Alan Scott Haft, on which the graphic novel was based. Now comes HBO’s \u003cem>The Survivor\u003c/em>, a biopic directed by Barry Levinson (\u003cem>Rain Man\u003c/em>, \u003cem>Wag the Dog\u003c/em>), and consulted on by the \u003ca href=\"https://sfi.usc.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">USC Shoah Foundation\u003c/a>—an organization that collects Holocaust survivor stories.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/s0ETYBNs6ZA'\n title='//www.youtube.com/embed/s0ETYBNs6ZA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>The Survivor\u003c/em> benefits, first and foremost, from beautiful direction and an excellent cast. Ben Foster is unrecognizable as Haft, and entirely convincing at every gut-wrenching step of his performance. During scenes at Auschwitz, Foster embodies the expressions of a desperate human living perpetually in survival mode. For Haft’s early days in Brooklyn, Foster effectively captures the torment of a person attempting to live a normal life after surviving a living hell. And for Haft’s later years, Foster allows his performance to take on the gnarled and calloused edges of a man who never came to terms with what happened to him.\u003c/p>\n\u003cp>At Foster’s side in Haft’s post-war boxing world are scene-stealing performances by John Leguizamo (who plays Haft’s trainer, Pepe) and Danny DeVito (as Rocky Marciano’s trainer Charley Goldman, who secretly gave Hast tips before the big fight). Both Leguizamo and DeVito imbue the film with much-needed moments of light and humor. Meanwhile, Vicky Krieps’s portrayal of Haft’s wife, Miriam Wofsoniker, includes just the right combination of sympathy, sensitivity and frustration.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13874146","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Survivor\u003c/em> is a stunning and heart-wrenching portrayal of one man’s literal fight to survive, and the deep emotional scars it left behind. The film quietly asks thought-provoking questions about morality, spirituality, trauma and the meaning of true strength. And the broad arc of Haft’s story, as presented here, is accurate. Where \u003cem>The Survivor\u003c/em> falters is in its compulsion to insert Hollywood versions of events in place of real-life details that would have more than sufficed. And it goes far beyond small instances of artistic license.\u003c/p>\n\u003cp>For one, the biopic glosses over the abuse to which Haft subjected his son Alan later in life. “You’re talking about a Holocaust survivor who’s got PTSD,” Alan once said of writing his father’s biography, “talking to a second-generation Holocaust survivor who’s got PTSD from having survived growing up with him.”\u003c/p>\n\u003cp>In addition, \u003cem>The Survivor\u003c/em> creates a fictional backstory for the relationship Haft had with his wife, lest the true story be deemed unromantic. In reality, Haft and Wofsoniker were neighbors who married just a week after meeting, in part because the elderly woman Haft was boarding with had died, rendering him homeless.\u003c/p>\n\u003cp>Yes, \u003cem>The Survivor\u003c/em> grittily recreates Haft’s fights at Auschwitz as he later relayed them to his son—often, fights with men far too depleted to defend themselves. There’s a harrowing depiction of the fight Haft had to win against a champion French heavyweight brought to Auschwitz by Berlin generals. But the filmmakers, apparently unsure whether the truth would suitably move the audience, also concoct a fictional scenario in which Haft is forced to fight a dear friend. This scene is taken to such an overwrought conclusion that one can only hope viewers recognize it as a fabrication. (I was compelled to fact-check it the moment it was over.)\u003c/p>\n\u003cfigure id=\"attachment_13912202\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912202\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/schneider-800x515.png\" alt=\"An emaciated shirtless man with a shaved head stands with a look of steely determination. Opposite a nazi SS officer gives him instructions. Behind them, fences and other soldiers are visible.\" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/schneider-800x515.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/schneider-1020x656.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/schneider-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/schneider-768x494.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/schneider-1536x988.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/schneider-2048x1318.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/schneider-1920x1235.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ben Foster as Harry Haft and Billy Magnussen as Dietrich Schneider, the SS officer who saved Haft’s life repeatedly, as long as the young man agreed to box. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Survivor\u003c/em> consistently rewrites Haft’s story to raise the emotional stakes. The conclusion presented for the relationship between Haft and SS officer Schneider is entirely (and depressingly) fabricated. Worse, tying the two men’s story up in a neat little bow impacts how \u003cem>The Survivor\u003c/em> presents Haft’s real-life escape—a story absolutely worth telling. Is the movie version more satisfying than what really happened? Of course. But at this stage in history, surely telling the truth about every detail of the Holocaust is more important.\u003c/p>\n\u003cp>The truth is that Haft’s daring escape also involved killing three civilians. While on the run, Haft killed an SS officer, stole his uniform and, shortly after, took shelter in the home of an elderly German couple. After they had welcomed him in, given him food and the chance to bathe, Haft grew fearful of being discovered as an imposter and shot them both dead. Further down the road, when a woman recognized that he was neither German nor a soldier, Haft shot her dead and told her young son to hide.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13908730","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Erasing the dark reality of what Haft did in pursuit of his own freedom might, on the surface, make sense: it renders Haft a more sympathetic protagonist. But this is a two-hour biopic that repeatedly asks the viewer to think about the lengths to which we might go to survive an abhorrent situation. Denying us a full picture of what Haft did to make it out alive seems in direct opposition to the movie’s primary goals.\u003c/p>\n\u003cp>In the end, \u003cem>The Survivor—\u003c/em>while compelling and impactful—squanders the opportunity to tell Harry Haft’s story as he himself was willing to do. This truth is especially important at a time when few Holocaust survivors are around to tell us exactly what happened to them. (Haft died in 2007.)\u003c/p>\n\u003cp>Changing these details wasn’t just unnecessary, it also implies Haft’s life wasn’t quite good enough, or sad enough, to tell honestly. In so doing, the project arguably passes judgment on a man who was, in impossible circumstances, simply trying to stay alive.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Survivor’ premieres on Holocaust Remembrance Day, Wednesday April 27, on HBO.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13912145/hbo-harry-haft-biopic-holocaust-the-survivor-true-story","authors":["11242"],"categories":["arts_1","arts_7862","arts_74"],"tags":["arts_10278","arts_8350","arts_3038"],"featImg":"arts_13912176","label":"arts"},"arts_13908730":{"type":"posts","id":"arts_13908730","meta":{"index":"posts_1591205157","site":"arts","id":"13908730","score":null,"sort":[1643653881000]},"guestAuthors":[],"slug":"why-a-school-boards-ban-on-maus-may-put-the-book-in-the-hands-of-more-readers","title":"Why a School Board's Ban on 'Maus' May Put the Book in the Hands of More Readers","publishDate":1643653881,"format":"standard","headTitle":"Why a School Board’s Ban on ‘Maus’ May Put the Book in the Hands of More Readers | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>A Tennessee school district’s controversial ban on the Holocaust graphic novel \u003cem>Maus\u003c/em> appears to have spurred efforts to get copies into the hands of more readers nationwide.\u003c/p>\n\u003cp>News of the McMinn County School Board’s unanimous vote to remove \u003cem>Maus \u003c/em>from its curriculum—and replace it with something else—earlier this month made headlines last week as the world was preparing to mark International Holocaust Remembrance Day.\u003c/p>\n\u003cp>[aside postid='pop_13596']The Pulitzer Prize-winning book tells the story of author Art Spiegelman’s relationship with his father, a Holocaust survivor, by depicting Jews as mice and Nazis as cats. The school board reportedly objected to eight curse words and nude imagery of a woman, used in the depiction of the author’s mother’s suicide.\u003c/p>\n\u003cp>Spiegelman \u003ca href=\"https://www.npr.org/2022/01/27/1076180329/tennessee-school-district-ban-holocaust-graphic-novel-maus\">told NPR and WBUR’s \u003c/a>\u003ca href=\"https://www.npr.org/2022/01/27/1076180329/tennessee-school-district-ban-holocaust-graphic-novel-maus\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Here and Now\u003c/em>\u003c/a> that the board’s decision is “not good for their children, even if they think it is.”\u003c/p>\n\u003cp>The U.S. Holocaust Memorial, the \u003ca href=\"https://twitter.com/ADLSoutheast/status/1486489739033202694?s=20&t=3BZUPdMlDSaWaGfxzYNjTg\" target=\"_blank\" rel=\"noopener noreferrer\">Anti-Defamation League\u003c/a>, \u003ca href=\"https://www.commercialappeal.com/story/news/local/2022/01/30/holocaust-book-maus-ban-concerns-tennessee-naacp/9278193002/\">the NAACP\u003c/a> and other groups have criticized the ban, noting the important role the book—which was originally published in serial form beginning in the 1980s—plays in teaching students about the Holocaust.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Maus\u003c/em> now appears to be in even greater demand, and, in some cases, supply, in Tennessee and beyond. Online sales are skyrocketing, and multiple bookstores are giving away free copies to students.\u003c/p>\n\u003cp>Spiegelman \u003ca href=\"https://www.cnbc.com/2022/01/28/maus-amazon-bestseller-after-tennessee-school-ban.html\" target=\"_blank\" rel=\"noopener noreferrer\">told CNBC\u003c/a> that he was heartened by the response, noting it’s not the first of its kind.\u003c/p>\n\u003cp>“The schoolboard could’ve checked with their book-banning predecessor, [Russian President] Vladimir Putin,” he wrote. “He made the Russian edition of \u003cem>Maus\u003c/em> illegal in 2015 (also with good intentions—banning swastikas) and the small publisher sold out immediately and has had to reprint repeatedly.”\u003c/p>\n\u003ch3>Backlash to the ban has spurred book sales and donations\u003c/h3>\n\u003cp>As criticism of the ban spread across the internet, it appears that many readers rushed to order copies for themselves.\u003c/p>\n\u003cp>\u003cem>The Complete Maus\u003c/em> had been the \u003ca href=\"https://www.amazon.com/gp/bestsellers/books/ref=zg_b_bs_books_1\" target=\"_blank\" rel=\"noopener noreferrer\">No. \u003c/a>\u003ca href=\"https://www.amazon.com/gp/bestsellers/books/ref=zg_b_bs_books_1\">1\u003c/a>\u003ca href=\"https://www.amazon.com/gp/bestsellers/books/ref=zg_b_bs_books_1\" target=\"_blank\" rel=\"noopener noreferrer\"> bestseller\u003c/a> on Amazon’s online bookstore as of Monday morning, moving up from the seventh spot on Friday. The \u003ca href=\"https://www.amazon.com/gp/bestsellers/books/7421467011/ref=zg_b_bs_7421467011_1\" target=\"_blank\" rel=\"noopener noreferrer\">top three bestsellers\u003c/a> in the “Literary Graphic Novels” section are \u003cem>The Complete Maus, Maus I \u003c/em>and \u003cem>Maus II.\u003c/em>\u003c/p>\n\u003cp>Other booksellers are taking steps to get the book and its important message into the hands of more readers.\u003c/p>\n\u003cp>Ryan Higgins, the owner of a California comic book shop, offered via Twitter to donate up to 100 copies of \u003cem>The Complete Maus\u003c/em> to families in the McMinn County area. Illustrator \u003ca href=\"https://twitter.com/MitchGerads/status/1486560192443478019?s=20&t=0nvof9ESTeK9qTrjb_o6-Q\" target=\"_blank\" rel=\"noopener noreferrer\">Mitch Gerads\u003c/a> and screenwriter \u003ca href=\"https://twitter.com/garywhitta/status/1486502950964891654?s=20&t=m6ZmJSuDSLWMan6HXNDMtw\" target=\"_blank\" rel=\"noopener noreferrer\">Gary Whitta\u003c/a> have made similar offers.\u003c/p>\n\u003cp>https://twitter.com/RyanHigginsRyan/status/1486484761648328704\u003c/p>\n\u003cp>Fairytales Bookstore and More in Nashville is partnering with school librarians to give away free copies of \u003cem>Maus\u003c/em> to local students, with patrons encouraged to \u003ca href=\"https://graphicpolicy.com/2022/01/30/fairytales-bookstore-and-more-announces-maus-giveaway/\" target=\"_blank\" rel=\"noopener noreferrer\">donate to the cause\u003c/a> at a discounted price.\u003c/p>\n\u003cp>Nirvana Comics in Knoxville \u003ca href=\"https://www.facebook.com/nirvanacomics/posts/2737846113028720\" target=\"_blank\" rel=\"noopener noreferrer\">announced last week\u003c/a> that it had started a program to loan or donate a copy of the book to any student who requests it and, within a day, had received donations from all over the world.\u003c/p>\n\u003cp>[aside postid='perspectives_201601139065']It later started an \u003ca href=\"https://www.gofundme.com/f/nirvana-comics-knoxville-project-maus?fbclid=IwAR2sc5xSAvoIMGy2SPOgH9two82KF_gVKfhVYIGpown1z_bYaL0qVuOSRrI\" target=\"_blank\" rel=\"noopener noreferrer\">online fundraising page\u003c/a> to support the purchase of copies for students locally and nationwide, and has nearly quadrupled its financial goal with more than $79,000 raised as of Monday morning. Organizers said all extra funds will go to local and state organizations to help support untold stories.\u003c/p>\n\u003cp>“We thought this would be a local support to help a magnificent piece of literature stay in the hands of students in the McMinn county,” they wrote on Saturday. “But … this has become a global priority!”\u003c/p>\n\u003cp>Rich Davis, who owns the bookstore and has led the campaign, told the \u003ca href=\"https://www.jta.org/2022/01/28/united-states/the-great-maus-giveaway-is-on-as-bookstores-professors-and-churches-counter-tennessee-school-boards-ban\" target=\"_blank\" rel=\"noopener noreferrer\">Jewish Telegraphic Agency\u003c/a> that because the county is only home to about 50,000 people, the outpouring of support could potentially make it possible “to donate a copy of \u003cem>Maus\u003c/em> to every kid in McMinn County.”\u003c/p>\n\u003ch3>Educators and community institutions are also taking action\u003c/h3>\n\u003cp>Others are making an effort to help the community grapple with the lessons of \u003cem>Maus\u003c/em> and what its removal from the curriculum represents.\u003c/p>\n\u003cp>\u003ca href=\"https://www.davidson.edu/people/scott-denham\" target=\"_blank\" rel=\"noopener noreferrer\">Scott Denham\u003c/a>, a Holocaust and German studies professor at North Carolina’s Davidson College, is offering a free online course for McMinn County eighth-graders and high school students who are interested in reading the \u003cem>Maus \u003c/em>books.\u003c/p>\n\u003cp>“I have taught Spiegelman’s books many times in my courses on the Holocaust over many years,” he wrote on a \u003ca href=\"https://www.mauscourse.scottdenham.net/about/\" target=\"_blank\" rel=\"noopener noreferrer\">website created for the course\u003c/a>.\u003c/p>\n\u003cp>Denham referred to the course as “a work in progress” that will only be open to McMinn County students who apply. It will involve asynchronous tools like a discussion blog and video mini-lectures, as well as live spaces like Zoom meetings.\u003c/p>\n\u003cp>[aside postid='news_148482']Denham expects the primary texts to be \u003cem>Maus I \u003c/em>and \u003cem>Maus II\u003c/em> but says it might also include \u003cem>Metamaus\u003c/em> if there is availability at the county’s E.G. Fisher Public Library, which “has begun receiving donated copies of the books thanks to many generous people.”\u003c/p>\n\u003cp>Author Nancy Levine \u003ca href=\"https://twitter.com/nancylevine/status/1486758779114844163?s=20&t=cJr0jxU80yIKY6YU3V_9qw\">posted \u003c/a>\u003ca href=\"https://twitter.com/nancylevine/status/1486758779114844163?s=20&t=cJr0jxU80yIKY6YU3V_9qw\" target=\"_blank\" rel=\"noopener noreferrer\">a note\u003c/a> on Twitter that she said was from the public library, saying it had received many offers to purchase \u003cem>Maus\u003c/em> and expects to see “several copies arriving in the coming days.”\u003c/p>\n\u003cp>In lieu of additional copies, the library is asking for monetary donations in support of its “collection, educational programming and access to the internet and technology.”\u003c/p>\n\u003cp>There are other community events in the works.\u003c/p>\n\u003cp>Spiegelman told CNBC that his lecture agent is trying to coordinate a public Zoom event for the McMinn area, in which he will “talk and take questions about \u003cem>Maus\u003c/em> with local citizens (hopefully teachers, students, clergy, etc.) in the next couple weeks.”\u003c/p>\n\u003cp>In the meantime, St. Paul’s Episcopal Church in McMinn County is planning to hold a discussion event of its own on Thursday.\u003c/p>\n\u003cp>Organizers told \u003ca href=\"https://www.wbir.com/article/entertainment/events/east-tn-church-to-hold-book-discussion-on-maus-award-winning-holocaust-novel-after-it-was-banned-in-mcminn-co-schools/51-dad6626d-0740-4abf-a467-6022ddc5170b\" target=\"_blank\" rel=\"noopener noreferrer\">NBC affiliate WIBR\u003c/a> that many churches may see the events the book depicts as “not their concern,” despite the prevalence of antisemitism in and beyond Tennessee.\u003c/p>\n\u003cp>“We are committed to standing against hatred and harm,” they said. “Together, let’s dive into this story so that we might better live out that call in our time and community.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>This story originally appeared on \u003ca href=\"https://www.npr.org/live-updates/morning-edition-2022-01-31#a-school-districts-ban-on-maus-may-put-it-into-the-hands-of-more-readers\" target=\"_blank\" rel=\"noopener noreferrer\">the \u003cem>Morning Edition\u003c/em> live blog\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+a+school+board%27s+ban+on+%27Maus%27+may+put+the+book+in+the+hands+of+more+readers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Online sales of the Holocaust graphic novel are skyrocketing. ","status":"publish","parent":0,"modified":1705007262,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":32,"wordCount":1099},"headData":{"title":"Why a School Board's Ban on 'Maus' May Put the Book in the Hands of More Readers | KQED","description":"Online sales of the Holocaust graphic novel are skyrocketing. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Why a School Board's Ban on 'Maus' May Put the Book in the Hands of More Readers","datePublished":"2022-01-31T18:31:21.000Z","dateModified":"2024-01-11T21:07:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Maro Siranosian","nprByline":"Rachel Treisman","nprImageAgency":"AFP via Getty Images","nprStoryId":"1076970866","nprApiLink":"http://api.npr.org/query?id=1076970866&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2022/01/31/1076970866/maus-banned-tennessee-school-board?ft=nprml&f=1076970866","nprRetrievedStory":"1","nprPubDate":"Mon, 31 Jan 2022 13:03:00 -0500","nprStoryDate":"Mon, 31 Jan 2022 12:19:49 -0500","nprLastModifiedDate":"Mon, 31 Jan 2022 13:03:25 -0500","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13908730/why-a-school-boards-ban-on-maus-may-put-the-book-in-the-hands-of-more-readers","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Tennessee school district’s controversial ban on the Holocaust graphic novel \u003cem>Maus\u003c/em> appears to have spurred efforts to get copies into the hands of more readers nationwide.\u003c/p>\n\u003cp>News of the McMinn County School Board’s unanimous vote to remove \u003cem>Maus \u003c/em>from its curriculum—and replace it with something else—earlier this month made headlines last week as the world was preparing to mark International Holocaust Remembrance Day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_13596","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The Pulitzer Prize-winning book tells the story of author Art Spiegelman’s relationship with his father, a Holocaust survivor, by depicting Jews as mice and Nazis as cats. The school board reportedly objected to eight curse words and nude imagery of a woman, used in the depiction of the author’s mother’s suicide.\u003c/p>\n\u003cp>Spiegelman \u003ca href=\"https://www.npr.org/2022/01/27/1076180329/tennessee-school-district-ban-holocaust-graphic-novel-maus\">told NPR and WBUR’s \u003c/a>\u003ca href=\"https://www.npr.org/2022/01/27/1076180329/tennessee-school-district-ban-holocaust-graphic-novel-maus\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Here and Now\u003c/em>\u003c/a> that the board’s decision is “not good for their children, even if they think it is.”\u003c/p>\n\u003cp>The U.S. Holocaust Memorial, the \u003ca href=\"https://twitter.com/ADLSoutheast/status/1486489739033202694?s=20&t=3BZUPdMlDSaWaGfxzYNjTg\" target=\"_blank\" rel=\"noopener noreferrer\">Anti-Defamation League\u003c/a>, \u003ca href=\"https://www.commercialappeal.com/story/news/local/2022/01/30/holocaust-book-maus-ban-concerns-tennessee-naacp/9278193002/\">the NAACP\u003c/a> and other groups have criticized the ban, noting the important role the book—which was originally published in serial form beginning in the 1980s—plays in teaching students about the Holocaust.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Maus\u003c/em> now appears to be in even greater demand, and, in some cases, supply, in Tennessee and beyond. Online sales are skyrocketing, and multiple bookstores are giving away free copies to students.\u003c/p>\n\u003cp>Spiegelman \u003ca href=\"https://www.cnbc.com/2022/01/28/maus-amazon-bestseller-after-tennessee-school-ban.html\" target=\"_blank\" rel=\"noopener noreferrer\">told CNBC\u003c/a> that he was heartened by the response, noting it’s not the first of its kind.\u003c/p>\n\u003cp>“The schoolboard could’ve checked with their book-banning predecessor, [Russian President] Vladimir Putin,” he wrote. “He made the Russian edition of \u003cem>Maus\u003c/em> illegal in 2015 (also with good intentions—banning swastikas) and the small publisher sold out immediately and has had to reprint repeatedly.”\u003c/p>\n\u003ch3>Backlash to the ban has spurred book sales and donations\u003c/h3>\n\u003cp>As criticism of the ban spread across the internet, it appears that many readers rushed to order copies for themselves.\u003c/p>\n\u003cp>\u003cem>The Complete Maus\u003c/em> had been the \u003ca href=\"https://www.amazon.com/gp/bestsellers/books/ref=zg_b_bs_books_1\" target=\"_blank\" rel=\"noopener noreferrer\">No. \u003c/a>\u003ca href=\"https://www.amazon.com/gp/bestsellers/books/ref=zg_b_bs_books_1\">1\u003c/a>\u003ca href=\"https://www.amazon.com/gp/bestsellers/books/ref=zg_b_bs_books_1\" target=\"_blank\" rel=\"noopener noreferrer\"> bestseller\u003c/a> on Amazon’s online bookstore as of Monday morning, moving up from the seventh spot on Friday. The \u003ca href=\"https://www.amazon.com/gp/bestsellers/books/7421467011/ref=zg_b_bs_7421467011_1\" target=\"_blank\" rel=\"noopener noreferrer\">top three bestsellers\u003c/a> in the “Literary Graphic Novels” section are \u003cem>The Complete Maus, Maus I \u003c/em>and \u003cem>Maus II.\u003c/em>\u003c/p>\n\u003cp>Other booksellers are taking steps to get the book and its important message into the hands of more readers.\u003c/p>\n\u003cp>Ryan Higgins, the owner of a California comic book shop, offered via Twitter to donate up to 100 copies of \u003cem>The Complete Maus\u003c/em> to families in the McMinn County area. Illustrator \u003ca href=\"https://twitter.com/MitchGerads/status/1486560192443478019?s=20&t=0nvof9ESTeK9qTrjb_o6-Q\" target=\"_blank\" rel=\"noopener noreferrer\">Mitch Gerads\u003c/a> and screenwriter \u003ca href=\"https://twitter.com/garywhitta/status/1486502950964891654?s=20&t=m6ZmJSuDSLWMan6HXNDMtw\" target=\"_blank\" rel=\"noopener noreferrer\">Gary Whitta\u003c/a> have made similar offers.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1486484761648328704"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Fairytales Bookstore and More in Nashville is partnering with school librarians to give away free copies of \u003cem>Maus\u003c/em> to local students, with patrons encouraged to \u003ca href=\"https://graphicpolicy.com/2022/01/30/fairytales-bookstore-and-more-announces-maus-giveaway/\" target=\"_blank\" rel=\"noopener noreferrer\">donate to the cause\u003c/a> at a discounted price.\u003c/p>\n\u003cp>Nirvana Comics in Knoxville \u003ca href=\"https://www.facebook.com/nirvanacomics/posts/2737846113028720\" target=\"_blank\" rel=\"noopener noreferrer\">announced last week\u003c/a> that it had started a program to loan or donate a copy of the book to any student who requests it and, within a day, had received donations from all over the world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"perspectives_201601139065","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>It later started an \u003ca href=\"https://www.gofundme.com/f/nirvana-comics-knoxville-project-maus?fbclid=IwAR2sc5xSAvoIMGy2SPOgH9two82KF_gVKfhVYIGpown1z_bYaL0qVuOSRrI\" target=\"_blank\" rel=\"noopener noreferrer\">online fundraising page\u003c/a> to support the purchase of copies for students locally and nationwide, and has nearly quadrupled its financial goal with more than $79,000 raised as of Monday morning. Organizers said all extra funds will go to local and state organizations to help support untold stories.\u003c/p>\n\u003cp>“We thought this would be a local support to help a magnificent piece of literature stay in the hands of students in the McMinn county,” they wrote on Saturday. “But … this has become a global priority!”\u003c/p>\n\u003cp>Rich Davis, who owns the bookstore and has led the campaign, told the \u003ca href=\"https://www.jta.org/2022/01/28/united-states/the-great-maus-giveaway-is-on-as-bookstores-professors-and-churches-counter-tennessee-school-boards-ban\" target=\"_blank\" rel=\"noopener noreferrer\">Jewish Telegraphic Agency\u003c/a> that because the county is only home to about 50,000 people, the outpouring of support could potentially make it possible “to donate a copy of \u003cem>Maus\u003c/em> to every kid in McMinn County.”\u003c/p>\n\u003ch3>Educators and community institutions are also taking action\u003c/h3>\n\u003cp>Others are making an effort to help the community grapple with the lessons of \u003cem>Maus\u003c/em> and what its removal from the curriculum represents.\u003c/p>\n\u003cp>\u003ca href=\"https://www.davidson.edu/people/scott-denham\" target=\"_blank\" rel=\"noopener noreferrer\">Scott Denham\u003c/a>, a Holocaust and German studies professor at North Carolina’s Davidson College, is offering a free online course for McMinn County eighth-graders and high school students who are interested in reading the \u003cem>Maus \u003c/em>books.\u003c/p>\n\u003cp>“I have taught Spiegelman’s books many times in my courses on the Holocaust over many years,” he wrote on a \u003ca href=\"https://www.mauscourse.scottdenham.net/about/\" target=\"_blank\" rel=\"noopener noreferrer\">website created for the course\u003c/a>.\u003c/p>\n\u003cp>Denham referred to the course as “a work in progress” that will only be open to McMinn County students who apply. It will involve asynchronous tools like a discussion blog and video mini-lectures, as well as live spaces like Zoom meetings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_148482","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Denham expects the primary texts to be \u003cem>Maus I \u003c/em>and \u003cem>Maus II\u003c/em> but says it might also include \u003cem>Metamaus\u003c/em> if there is availability at the county’s E.G. Fisher Public Library, which “has begun receiving donated copies of the books thanks to many generous people.”\u003c/p>\n\u003cp>Author Nancy Levine \u003ca href=\"https://twitter.com/nancylevine/status/1486758779114844163?s=20&t=cJr0jxU80yIKY6YU3V_9qw\">posted \u003c/a>\u003ca href=\"https://twitter.com/nancylevine/status/1486758779114844163?s=20&t=cJr0jxU80yIKY6YU3V_9qw\" target=\"_blank\" rel=\"noopener noreferrer\">a note\u003c/a> on Twitter that she said was from the public library, saying it had received many offers to purchase \u003cem>Maus\u003c/em> and expects to see “several copies arriving in the coming days.”\u003c/p>\n\u003cp>In lieu of additional copies, the library is asking for monetary donations in support of its “collection, educational programming and access to the internet and technology.”\u003c/p>\n\u003cp>There are other community events in the works.\u003c/p>\n\u003cp>Spiegelman told CNBC that his lecture agent is trying to coordinate a public Zoom event for the McMinn area, in which he will “talk and take questions about \u003cem>Maus\u003c/em> with local citizens (hopefully teachers, students, clergy, etc.) in the next couple weeks.”\u003c/p>\n\u003cp>In the meantime, St. Paul’s Episcopal Church in McMinn County is planning to hold a discussion event of its own on Thursday.\u003c/p>\n\u003cp>Organizers told \u003ca href=\"https://www.wbir.com/article/entertainment/events/east-tn-church-to-hold-book-discussion-on-maus-award-winning-holocaust-novel-after-it-was-banned-in-mcminn-co-schools/51-dad6626d-0740-4abf-a467-6022ddc5170b\" target=\"_blank\" rel=\"noopener noreferrer\">NBC affiliate WIBR\u003c/a> that many churches may see the events the book depicts as “not their concern,” despite the prevalence of antisemitism in and beyond Tennessee.\u003c/p>\n\u003cp>“We are committed to standing against hatred and harm,” they said. “Together, let’s dive into this story so that we might better live out that call in our time and community.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This story originally appeared on \u003ca href=\"https://www.npr.org/live-updates/morning-edition-2022-01-31#a-school-districts-ban-on-maus-may-put-it-into-the-hands-of-more-readers\" target=\"_blank\" rel=\"noopener noreferrer\">the \u003cem>Morning Edition\u003c/em> live blog\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+a+school+board%27s+ban+on+%27Maus%27+may+put+the+book+in+the+hands+of+more+readers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13908730/why-a-school-boards-ban-on-maus-may-put-the-book-in-the-hands-of-more-readers","authors":["byline_arts_13908730"],"categories":["arts_1","arts_73","arts_75"],"tags":["arts_928","arts_9830","arts_2447","arts_3038"],"affiliates":["arts_137"],"featImg":"arts_13908731","label":"arts_137"},"arts_13897608":{"type":"posts","id":"arts_13897608","meta":{"index":"posts_1591205157","site":"arts","id":"13897608","score":null,"sort":[1630099019000]},"guestAuthors":[],"slug":"the-chinese-american-doctor-who-raised-hell-and-1500-ww2-servicemen","title":"The Chinese-American Doctor Who Raised Hell—and 1,500 WW2 Servicemen","publishDate":1630099019,"format":"standard","headTitle":"The Chinese-American Doctor Who Raised Hell—and 1,500 WW2 Servicemen | KQED","labelTerm":{"term":8978,"site":"arts"},"content":"\u003cp>[dropcap]M[/dropcap]argaret Chung spent her entire life defying stereotypes. She defied them when she became the first American-born Chinese woman to become a doctor. She defied them when she opened the first Western clinic in San Francisco’s Chinatown. And she subverted them in her personal life—whether she was donning masculine clothes, or taking care of countless “military sons.” Chung knew exactly what she was doing—she often made fun of stereotypes with her particular brand of humor. Stereotype-bucking was a lifelong pursuit for Chung—and it also made her enormously popular.\u003c/p>\n\u003cp>[aside postid='arts_13880286']Margaret Jessie Chung was born in Santa Barbara in 1889, the oldest of 11 children. Her mother, Ah Yane, had been trafficked from China to San Francisco at the age of five and rescued by the \u003ca href=\"https://www.kqed.org/arts/13880286/the-child-slave-who-helped-rescue-thousands-of-women-in-chinatown\" target=\"_blank\" rel=\"noopener noreferrer\">Presbyterian Mission House in Chinatown\u003c/a> six years later. Chung’s father, Chung Wong, was a merchant who suffered repeated business failures. Her childhood was spent bouncing around Southern California towns, as her family tried—and failed—to claw their way out of poverty.\u003c/p>\n\u003cp>At 12, Chung starting working herself, slogging her way through long, grueling shifts at a restaurant, after school. Her strong work ethic was evident from the beginning, but being grossly underpaid imbued her with a fiery ambition. Chung even battled her way into a private, prestigious high school by winning a competition to sell the most \u003cem>Los Angeles Times\u003c/em> subscriptions. (The paper then paid her school fees.)\u003c/p>\n\u003cp>After that, Chung went on to attend medical school at USC. One of only two women in her class during most of her time there, she told the\u003cem> Los Angeles Evening Post Record\u003c/em> in 1914, “As the only Chinese girl in the USC Medical School, I am compelled to be different.” And while that was the period she first began wearing men’s suits—sometimes even referring to herself as “Mike”—she was also responsible for founding the first medical sorority at the university. (There were four fraternities when she arrived, but nothing for the female med students.)\u003c/p>\n\u003cfigure id=\"attachment_13901609\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901609\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/20210820_154226-800x597.jpg\" alt=\"\" width=\"800\" height=\"597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/20210820_154226-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/20210820_154226-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/20210820_154226-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/20210820_154226-768x574.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/20210820_154226-1536x1147.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/20210820_154226-2048x1529.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/20210820_154226-1920x1434.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margaret Chung (front row, center) with her USC classmates, sophomore year, 1915. \u003ccite>(University of Southern California, on behalf of the USC University Archives.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout her schooling, Chung’s ultimate goal had been to become a Presbyterian missionary. She admired the women who’d rescued her mother from a life of servitude, but wanted to incorporate her medical training into the job to be of even greater service. But after graduation, at the age of 26, Chung’s plans were foiled by racist policy. Her three applications to become a medical missionary were turned down purely because she was of Chinese descent. Between 1875 and 1920, all Presbyterian missionaries were white. Chung was so devastated that she abandoned the church altogether.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To make matters more frustrating, Chung also struggled to get a hospital internship because of her gender, so she initially went to work as a surgical nurse in Chicago. It was there that she found the Mary Thompson Hospital—an institution specializing in the care of female patients by female doctors. After three years interning there, she moved onto Los Angeles’ Santa Fe Railroad hospital in 1916, where she became an accomplished surgeon. Chung was so popular there, one of her colleagues once suggested that “some of the men were deliberately getting hurt so that Dr. Chung could take care of them.”\u003c/p>\n\u003cp>This was particularly remarkable given that in 1917, Chung’s father, his leg severed in a car crash, was refused admittance by a local hospital on account of his being Chinese. He died from the blood loss, unable to acquire medical assistance.\u003c/p>\n\u003cp>Looking back in 1939 about her time at Santa Fe Railroad, Chung told the \u003cem>Los Angeles Times\u003c/em>: “I think that the [male patients] were so anxious to see what made the wheels go ’round in a woman doctor, much less a Chinese one, that they didn’t feel anything but curiosity for the first few days.”\u003c/p>\n\u003cp>[dropcap]C[/dropcap]hung’s move to San Francisco came in 1921. She was invited to accompany two of her Hollywood patients there on vacation, and found herself immediately smitten with the city. She also saw great opportunity. “There were no Chinese doctors practicing American medicine and surgery in Chinatown,” she noted later, “and I thought I saw a great future here.” She opened her office on Sacramento Street, a short walk from where her mother grew up in the Presbyterian Mission House.\u003c/p>\n\u003cp>Chung struggled to get her office off the ground until fate stepped in. After saving the life of a local businesswoman, Chung found herself overrun with new patients—mostly Chinese women for whom the businesswoman had translated at prior doctor’s appointments. Chung also benefited from the fact that many of these women had been uncomfortable getting physically examined by a male doctor. Soon, because of her office’s proximity to the Hall of Justice, she also had a large clientele of white male police officers.\u003c/p>\n\u003cp>[aside postid='arts_13884082']Once Chung’s practice was successful, she began the business of transforming healthcare in Chinatown. She volunteered at a local school, teaching and giving free wellness checks to the 178 children there. Then, in 1925, she co-founded the Chinese Hospital and helmed the Gynecology, Obstetrics and Pediatrics unit there. She also participated in women’s organizations, including the San Francisco Medical Women’s Club and the San Francisco Women’s City Club.\u003c/p>\n\u003cp>As Chung became a well-known local figure, scandalous rumors spread about her sexuality and loose morals—she was known to date both women and men, and many of them were white. While this prompted some of her more old-fashioned patients to abandon her care, her reputation attracted lesbian couples who could not be open about their relationship status at other medical offices. In addition, her reputation as a thoroughly modern woman—she drank in speakeasys and was often seen zipping around the city in smart suits and flashy sports cars—also attracted women seeking birth control, sterilizations and abortions. While Chung did not perform the latter, she offered referrals to trustworthy doctors who did.\u003c/p>\n\u003cp>“Around Dr. Margaret Chung has clustered the glamour and romance of both east and west,” an issue of \u003cem>The Californian\u003c/em> noted in 1934. “Still well under middle age, this quiet voiced, attractive woman has achieved national fame as a physician and surgeon.” The article also noted that “every inch of wall space” in her consultation room was covered by signed photos of her most famous patients. They included Greta Garbo, Clark Gable and Joan Crawford.\u003c/p>\n\u003cp>[dropcap]I[/dropcap]t was a chance encounter, however, that would most raise Chung’s public profile. In 1931, after Japan invaded Northeast China and bombed Shanghai, a member of the U.S. Navy Reserves, Steven G. Bancroft, approached Chung to see if she knew a way for him to join the Chinese military. She didn’t. But, taking a shine to Bancroft, she invited him and six friends—all pilots—over for dinner. Chung hit it off to such a degree with the men that they were soon all eating, camping and hunting together on a regular basis.\u003c/p>\n\u003cp>One night, joking with Chung, one of the pilots said, “You’re as understanding as a mother … but hell, you’re an old maid and you haven’t got a father for us.”\u003c/p>\n\u003cp>Chung replied, “Well, that makes you a lot of fair-haired bastards, doesn’t it?” It was a moniker that stuck. And as word spread about “Mom Chung” and the “Fair-Haired Bastards,” the group became a sort of social club that many other military men quickly joined.\u003c/p>\n\u003cp>By 1937, Chung had over 500 “sons” serving in the RAF, Army, Navy and Marines. By the end of World War II, there were over 1,500—those of which who served on the sea, she nicknamed “Golden Dolphins.” She lived vicariously through the servicemen, and provided maternal love and support in return, often feeding and housing them before and after missions. She also gave each of them a small jade Buddha pendant, as a means to recognize one another while serving overseas. During the war, she sent care packages and daily letters to raise their spirits. Each Sunday, she held a huge dinner party for her “sons,” their guests, and a variety of celebrities, including John Wayne and Tennessee Williams. Up to 100 people attended each week and, at Thanksgiving, that number increased to 175.\u003c/p>\n\u003cfigure id=\"attachment_13901618\" class=\"wp-caption aligncenter\" style=\"max-width: 371px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901618\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/unnamed.jpg\" alt=\"A 1943 comic book, 'Real Heroes', featured a story about "Mom Chung and her 509 Fair-Haired Foster Sons."\" width=\"371\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/unnamed.jpg 371w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/unnamed-160x221.jpg 160w\" sizes=\"(max-width: 371px) 100vw, 371px\">\u003cfigcaption class=\"wp-caption-text\">A 1943 comic book, ‘Real Heroes,’ featured a story about “Mom Chung and her 509 Fair-Haired Foster Sons.” \u003ccite>(Parents' Magazine Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chung’s figurative adoptions of so many servicemen attracted a lot of positive press attention, even spawning a story in the \u003cem>Real Heroes\u003c/em> comic book series in 1943. All of which raised her profile enough to make huge strides in her charitable campaigns. She co-founded Rice Bowl Parties—fundraising festivals held in seven hundred cities, including San Francisco. These parties went on to raise $235,000—the equivalent of $3.5 million today—to send aid to China. During the war, she also helped create the Women’s Naval Reserve, co-founded the San Francisco downtown Disaster Station, volunteered on its medical staff, and was an active member the Red Cross. In 1942, one newspaper, the \u003cem>Gustine Standard\u003c/em>, called her “San Francisco’s Number One United States citizen.”\u003c/p>\n\u003cp>[aside postid='arts_13893514']At the end of the war, Chung became the first American woman to receive the People’s Award of China. She also received a citation, signed by President Truman, from the Red Cross for “meritorious personal service performed in behalf of the nation.” She continued to look after her “sons” as they adjusted back to civilian life and even personally secured jobs for 20 of them. Her door remained open to them all until her death in 1959, aged 69, from ovarian cancer. Mayor George Christopher was one of her pallbearers.\u003c/p>\n\u003cp>After her death, one of her “Fair-Haired Bastards” paid tribute to her in his diary. “God bless and rest her very beautiful soul,” Vice Admiral Charles Lockwood wrote. “There will never be another Mom Chung.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Margaret Chung was judged for her 'loose morals' and love of sports cars during a remarkable life of service to others.","status":"publish","parent":0,"modified":1705090757,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1813},"headData":{"title":"The Chinese-American Doctor Who Raised Hell—and 1,500 WW2 Servicemen | KQED","description":"Margaret Chung was judged for her 'loose morals' and love of sports cars during a remarkable life of service to others.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Chinese-American Doctor Who Raised Hell—and 1,500 WW2 Servicemen","datePublished":"2021-08-27T21:16:59.000Z","dateModified":"2024-01-12T20:19:17.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/257e550f-53ae-461d-8bdc-ad8f01677a2d/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13897608/the-chinese-american-doctor-who-raised-hell-and-1500-ww2-servicemen","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">M\u003c/span>\u003c/p>\u003cp>argaret Chung spent her entire life defying stereotypes. She defied them when she became the first American-born Chinese woman to become a doctor. She defied them when she opened the first Western clinic in San Francisco’s Chinatown. And she subverted them in her personal life—whether she was donning masculine clothes, or taking care of countless “military sons.” Chung knew exactly what she was doing—she often made fun of stereotypes with her particular brand of humor. Stereotype-bucking was a lifelong pursuit for Chung—and it also made her enormously popular.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13880286","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Margaret Jessie Chung was born in Santa Barbara in 1889, the oldest of 11 children. Her mother, Ah Yane, had been trafficked from China to San Francisco at the age of five and rescued by the \u003ca href=\"https://www.kqed.org/arts/13880286/the-child-slave-who-helped-rescue-thousands-of-women-in-chinatown\" target=\"_blank\" rel=\"noopener noreferrer\">Presbyterian Mission House in Chinatown\u003c/a> six years later. Chung’s father, Chung Wong, was a merchant who suffered repeated business failures. Her childhood was spent bouncing around Southern California towns, as her family tried—and failed—to claw their way out of poverty.\u003c/p>\n\u003cp>At 12, Chung starting working herself, slogging her way through long, grueling shifts at a restaurant, after school. Her strong work ethic was evident from the beginning, but being grossly underpaid imbued her with a fiery ambition. Chung even battled her way into a private, prestigious high school by winning a competition to sell the most \u003cem>Los Angeles Times\u003c/em> subscriptions. (The paper then paid her school fees.)\u003c/p>\n\u003cp>After that, Chung went on to attend medical school at USC. One of only two women in her class during most of her time there, she told the\u003cem> Los Angeles Evening Post Record\u003c/em> in 1914, “As the only Chinese girl in the USC Medical School, I am compelled to be different.” And while that was the period she first began wearing men’s suits—sometimes even referring to herself as “Mike”—she was also responsible for founding the first medical sorority at the university. (There were four fraternities when she arrived, but nothing for the female med students.)\u003c/p>\n\u003cfigure id=\"attachment_13901609\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901609\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/20210820_154226-800x597.jpg\" alt=\"\" width=\"800\" height=\"597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/20210820_154226-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/20210820_154226-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/20210820_154226-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/20210820_154226-768x574.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/20210820_154226-1536x1147.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/20210820_154226-2048x1529.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/20210820_154226-1920x1434.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margaret Chung (front row, center) with her USC classmates, sophomore year, 1915. \u003ccite>(University of Southern California, on behalf of the USC University Archives.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout her schooling, Chung’s ultimate goal had been to become a Presbyterian missionary. She admired the women who’d rescued her mother from a life of servitude, but wanted to incorporate her medical training into the job to be of even greater service. But after graduation, at the age of 26, Chung’s plans were foiled by racist policy. Her three applications to become a medical missionary were turned down purely because she was of Chinese descent. Between 1875 and 1920, all Presbyterian missionaries were white. Chung was so devastated that she abandoned the church altogether.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To make matters more frustrating, Chung also struggled to get a hospital internship because of her gender, so she initially went to work as a surgical nurse in Chicago. It was there that she found the Mary Thompson Hospital—an institution specializing in the care of female patients by female doctors. After three years interning there, she moved onto Los Angeles’ Santa Fe Railroad hospital in 1916, where she became an accomplished surgeon. Chung was so popular there, one of her colleagues once suggested that “some of the men were deliberately getting hurt so that Dr. Chung could take care of them.”\u003c/p>\n\u003cp>This was particularly remarkable given that in 1917, Chung’s father, his leg severed in a car crash, was refused admittance by a local hospital on account of his being Chinese. He died from the blood loss, unable to acquire medical assistance.\u003c/p>\n\u003cp>Looking back in 1939 about her time at Santa Fe Railroad, Chung told the \u003cem>Los Angeles Times\u003c/em>: “I think that the [male patients] were so anxious to see what made the wheels go ’round in a woman doctor, much less a Chinese one, that they didn’t feel anything but curiosity for the first few days.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">C\u003c/span>\u003c/p>\u003cp>hung’s move to San Francisco came in 1921. She was invited to accompany two of her Hollywood patients there on vacation, and found herself immediately smitten with the city. She also saw great opportunity. “There were no Chinese doctors practicing American medicine and surgery in Chinatown,” she noted later, “and I thought I saw a great future here.” She opened her office on Sacramento Street, a short walk from where her mother grew up in the Presbyterian Mission House.\u003c/p>\n\u003cp>Chung struggled to get her office off the ground until fate stepped in. After saving the life of a local businesswoman, Chung found herself overrun with new patients—mostly Chinese women for whom the businesswoman had translated at prior doctor’s appointments. Chung also benefited from the fact that many of these women had been uncomfortable getting physically examined by a male doctor. Soon, because of her office’s proximity to the Hall of Justice, she also had a large clientele of white male police officers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13884082","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Once Chung’s practice was successful, she began the business of transforming healthcare in Chinatown. She volunteered at a local school, teaching and giving free wellness checks to the 178 children there. Then, in 1925, she co-founded the Chinese Hospital and helmed the Gynecology, Obstetrics and Pediatrics unit there. She also participated in women’s organizations, including the San Francisco Medical Women’s Club and the San Francisco Women’s City Club.\u003c/p>\n\u003cp>As Chung became a well-known local figure, scandalous rumors spread about her sexuality and loose morals—she was known to date both women and men, and many of them were white. While this prompted some of her more old-fashioned patients to abandon her care, her reputation attracted lesbian couples who could not be open about their relationship status at other medical offices. In addition, her reputation as a thoroughly modern woman—she drank in speakeasys and was often seen zipping around the city in smart suits and flashy sports cars—also attracted women seeking birth control, sterilizations and abortions. While Chung did not perform the latter, she offered referrals to trustworthy doctors who did.\u003c/p>\n\u003cp>“Around Dr. Margaret Chung has clustered the glamour and romance of both east and west,” an issue of \u003cem>The Californian\u003c/em> noted in 1934. “Still well under middle age, this quiet voiced, attractive woman has achieved national fame as a physician and surgeon.” The article also noted that “every inch of wall space” in her consultation room was covered by signed photos of her most famous patients. They included Greta Garbo, Clark Gable and Joan Crawford.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>t was a chance encounter, however, that would most raise Chung’s public profile. In 1931, after Japan invaded Northeast China and bombed Shanghai, a member of the U.S. Navy Reserves, Steven G. Bancroft, approached Chung to see if she knew a way for him to join the Chinese military. She didn’t. But, taking a shine to Bancroft, she invited him and six friends—all pilots—over for dinner. Chung hit it off to such a degree with the men that they were soon all eating, camping and hunting together on a regular basis.\u003c/p>\n\u003cp>One night, joking with Chung, one of the pilots said, “You’re as understanding as a mother … but hell, you’re an old maid and you haven’t got a father for us.”\u003c/p>\n\u003cp>Chung replied, “Well, that makes you a lot of fair-haired bastards, doesn’t it?” It was a moniker that stuck. And as word spread about “Mom Chung” and the “Fair-Haired Bastards,” the group became a sort of social club that many other military men quickly joined.\u003c/p>\n\u003cp>By 1937, Chung had over 500 “sons” serving in the RAF, Army, Navy and Marines. By the end of World War II, there were over 1,500—those of which who served on the sea, she nicknamed “Golden Dolphins.” She lived vicariously through the servicemen, and provided maternal love and support in return, often feeding and housing them before and after missions. She also gave each of them a small jade Buddha pendant, as a means to recognize one another while serving overseas. During the war, she sent care packages and daily letters to raise their spirits. Each Sunday, she held a huge dinner party for her “sons,” their guests, and a variety of celebrities, including John Wayne and Tennessee Williams. Up to 100 people attended each week and, at Thanksgiving, that number increased to 175.\u003c/p>\n\u003cfigure id=\"attachment_13901618\" class=\"wp-caption aligncenter\" style=\"max-width: 371px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901618\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/unnamed.jpg\" alt=\"A 1943 comic book, 'Real Heroes', featured a story about "Mom Chung and her 509 Fair-Haired Foster Sons."\" width=\"371\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/unnamed.jpg 371w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/unnamed-160x221.jpg 160w\" sizes=\"(max-width: 371px) 100vw, 371px\">\u003cfigcaption class=\"wp-caption-text\">A 1943 comic book, ‘Real Heroes,’ featured a story about “Mom Chung and her 509 Fair-Haired Foster Sons.” \u003ccite>(Parents' Magazine Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chung’s figurative adoptions of so many servicemen attracted a lot of positive press attention, even spawning a story in the \u003cem>Real Heroes\u003c/em> comic book series in 1943. All of which raised her profile enough to make huge strides in her charitable campaigns. She co-founded Rice Bowl Parties—fundraising festivals held in seven hundred cities, including San Francisco. These parties went on to raise $235,000—the equivalent of $3.5 million today—to send aid to China. During the war, she also helped create the Women’s Naval Reserve, co-founded the San Francisco downtown Disaster Station, volunteered on its medical staff, and was an active member the Red Cross. In 1942, one newspaper, the \u003cem>Gustine Standard\u003c/em>, called her “San Francisco’s Number One United States citizen.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13893514","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>At the end of the war, Chung became the first American woman to receive the People’s Award of China. She also received a citation, signed by President Truman, from the Red Cross for “meritorious personal service performed in behalf of the nation.” She continued to look after her “sons” as they adjusted back to civilian life and even personally secured jobs for 20 of them. Her door remained open to them all until her death in 1959, aged 69, from ovarian cancer. Mayor George Christopher was one of her pallbearers.\u003c/p>\n\u003cp>After her death, one of her “Fair-Haired Bastards” paid tribute to her in his diary. “God bless and rest her very beautiful soul,” Vice Admiral Charles Lockwood wrote. “There will never be another Mom Chung.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13897608/the-chinese-american-doctor-who-raised-hell-and-1500-ww2-servicemen","authors":["11242"],"programs":["arts_8978"],"categories":["arts_1","arts_7862","arts_11615"],"tags":["arts_2654","arts_10278","arts_9598","arts_3226","arts_21841","arts_3038"],"featImg":"arts_13901786","label":"arts_8978"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. 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