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The Word Becomes You | 41 for financial reasons I developed it into a one-woman-show format. I initially act the plays myself, playing as many as (in one case) fifty-three parts and as few as two parts. It is my intention that once the plays are published, casts of actors will perform the plays, playing people who are quite unlike themselves physically in terms of gender and in terms of race. One of these plays is Fires in the Mirror. It is about a divided neighborhood in Crown Heights, Brooklyn, where blacks and Hasidic (Lubavitch) Jews lived side-by-side yet had very little to do with each other. Civil unrest broke out in that neighborhood one hot August in the 1990s. The grand rebbe, who was the leader of the Lubavitch community there, was going through the streets one night in an entourage of cars. One of the cars ran a red light, hit a sidewalk, and killed Gavin Cato, a young black boy. Later that night, a group of black youths stopped Yankel Rosenbaum, a Hasidic scholar from Australia, on the street and stabbed him to death. The streets then rocked. I went to Crown Heights, where I tape-recorded more than fifty interviews, and used them to create Fires in the Mirror, in which I played twenty-six parts: blacks and Jews, women and men, all with varying points of view about what had occurred. The play made the national press and my career as a documentarian using theater was begun. Perhaps what allowed me to think I might embody that story was my experience at Western High School in Baltimore. When I met the people who should have seemed excruciatingly different from me, the Lubavitch rabbis, their children and their wives, I found something extremely familiar. Sitting in the kitchens and at the long dining room tables of the Lubavitch, I saw beyond the hats and yarmulkes of the men and the wigs of the women. I saw all the way back to the kitchens of my Jewish friends at Western, who had cut holes in the big walls between us by inviting me home to meet their families, including grandparents who were often unassimilated. I went back to a time twenty years earlier, when cultural walls had fallen, if only briefly, and possibility was tangible. Here is an excerpt from Fires in the Mirror. Roslyn Malamud The Coup Do you know what happened in August here? You see when you read the newspapers. I mean my son filmed what was going on, but when you read the newspapers. . . .
42 | anna deavere smith (Resonding to a question.) Of course I was here! I couldn’t leave my house. I only would go out early during the day. The police were barricading here. You see, I wish I could just like go on television. I wanna scream to the whole world. They said that the Blacks were rioting against the Jews in Crown Heights and that the Jews were fighting back. Do you know that the Blacks who came here to riot were not my neighbors? I don’t love my neighbors. I don’t know my Black neighbors. There’s one lady on President Street— Claire— I adore her. She’s my girlfriend’s next-door neighbor. I’ve had a manicure done in her house and we sit and kibbitz and stuff but I don’t know them. I told you we don’t mingle socially because of the difference of food and religion and what have you here. But the people in this community want exactly what I want out of life. They want to live in nice homes. They all go to work. They couldn’t possibly have houses here
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Blueprints
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prints Bringing poetry into Communi
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Contents vii aCKnowledgments ix int
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aCKnowledgments The Harriet Monroe
Page 11 and 12: x | Katharine Coles Which, as many
Page 13 and 14: xii | Katharine Coles need to.” (
Page 15 and 16: xiv | Katharine Coles For my parent
Page 17 and 18: xvi | Katharine Coles ally resonant
Page 20: section•one alive in the wor(l)d
Page 23 and 24: 4 | Bas Kwakman The poem went as fo
Page 25 and 26: 6 | Bas Kwakman the festival search
Page 27 and 28: 8 | Bas Kwakman its completeness; t
Page 29 and 30: 10 | Bas Kwakman A good poem by a p
Page 31 and 32: 12 | Bas Kwakman Alongside Poetry I
Page 33 and 34: the seCond throat Poetry Slam patri
Page 35 and 36: 16 | patricia smith a bottle of bar
Page 37 and 38: 18 | patricia smith and died for th
Page 39 and 40: 20 | patricia smith from the sideli
Page 41 and 42: 22 | patricia smith classroom heard
Page 43 and 44: 24 | patricia smith And she was Gwe
Page 45 and 46: 26 | patricia smith In a voice that
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Page 49 and 50: 30 | sherwin Bitsui Of course, the
Page 51 and 52: 32 | sherwin Bitsui curriculum of a
Page 53 and 54: 34 | sherwin Bitsui for themselves
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Page 57 and 58: 38 | anna deavere smith And so, the
Page 59: 40 | anna deavere smith everyone wh
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Page 65 and 66: 46 | anna deavere smith After all I
Page 67 and 68: 48 | anna deavere smith the ground
Page 69 and 70: 50 | anna deavere smith They were h
Page 71 and 72: 52 | anna deavere smith without the
Page 73 and 74: 54 | anna deavere smith I have live
Page 76 and 77: tia ChuCha Comes home Poetry, Commu
Page 78 and 79: Tia Chucha Comes Home | 59 It start
Page 80 and 81: Tia Chucha Comes Home | 61 At the t
Page 82 and 83: Tia Chucha Comes Home | 63 size of
Page 84 and 85: Tia Chucha Comes Home | 65 but mone
Page 86 and 87: Tia Chucha Comes Home | 67 Springst
Page 88 and 89: Tia Chucha Comes Home | 69 The wors
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Page 96 and 97: aBout river oF words robert hass In
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Page 100 and 101: About River of Words | 81 published
Page 102 and 103: About River of Words | 83 century A
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Page 106 and 107: About River of Words | 87 Poets lau
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About River of Words | 91 So, by th
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About River of Words | 93 in Americ
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About River of Words | 95 writers o
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About River of Words | 97 handbook
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About River of Words | 99 culture e
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My Precious Water, I Kiss You, by P
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About River of Words | 103 ticide m
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About River of Words | 105 every ye
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About River of Words | 107 The firs
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About River of Words | 109 learning
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About River of Words | 111 fantasy,
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About River of Words | 113 and Pame
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The Poem Is a Bridge | 115 and serv
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The Poem Is a Bridge | 117 Our firs
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The Poem Is a Bridge | 119 I believ
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The Poem Is a Bridge | 121 doing so
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The Poem Is a Bridge | 123 STAC: sc
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The Poem Is a Bridge | 125 I just r
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the three goat story Notes on Poetr
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The Three Goat Story | 131 into a m
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The Three Goat Story | 133 self-int
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The Three Goats The Three Goat Stor
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The Three Goat Story | 137 three or
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The Three Goat Story | 139 on a tou
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I. one heart at a time The Creation
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One Heart at a Time | 143 ing grown
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One Heart at a Time | 145 now often
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One Heart at a Time | 147 national
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One Heart at a Time | 149 judgment
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One Heart at a Time | 151 tions fac
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One Heart at a Time | 153 Author an
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One Heart at a Time | 155 and popul
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People, Habitat, Poetry | 157 in th
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People, Habitat, Poetry | 159 how i
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People, Habitat, Poetry | 161 In Tu
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People, Habitat, Poetry | 163 music
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People, Habitat, Poetry | 165 fundi
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People, Habitat, Poetry | 167 $6.8
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People, Habitat, Poetry | 169 atten
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A Place for Poetry | 171 And you ne
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A Place for Poetry | 173 This littl
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A Place for Poetry | 175 The new sp
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A Place for Poetry | 177 • identi
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A Place for Poetry | 179 • hosted
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A Place for Poetry | 181 senior cit
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A Place for Poetry | 183 For me, on
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A Place for Poetry | 185 • coordi
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BUILDING FROM A MODEL * * * A Place
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A Place for Poetry | 189 tive poetr
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A Place for Poetry | 191 and Willia
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Part 1 an idea, a penCil, and paper
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Tools for Practical Dreaming | 197
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Part 2 hammer, saw, and nails Tools
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Tools for Framing | 217 relishes do
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Tools for Framing | 219 as a 501(c)
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Tools for Framing | 221 tion), and/
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Tools for Framing | 223 Every time
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Tools for Framing | 225 Access Stat
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Tools for Framing | 227 your number
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Tools for Framing | 229 porting you
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Tools for Framing | 231 2. Find out
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NOTE Tools for Framing | 233 1. Som
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MAKE GOOD FIRST IMPRESSIONS Finishi
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Finishing Tools for the Event Itsel
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Checklist: arrange media and public
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When Something Goes Wrong—And It
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Part 5 nuts, Bolts, and widgets Too
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Tools for Tinkering | 287 La Piana,
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Idealware. http://www.idealware.org
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Tools for Tinkering | 291 Community
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Tools for Tinkering | 293 Poets Hou
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296 | Contributors lic dialogue on
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298 | Contributors Patricia Smith i
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