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FOCUS: Stacey Abrams's Fight for a Fair Vote |
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Written by <a href="index.php?option=com_comprofiler&task=userProfile&user=26684"><span class="small">Jelani Cobb, The New Yorker</span></a>
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Monday, 12 August 2019 12:32 |
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Cobb writes: "The American electorate, across the country, is diversifying ethnically and racially at a rapid rate."
Stacey Abrams. (photo: John Bazemore/AP)

Stacey Abrams's Fight for a Fair Vote
By Jelani Cobb, The New Yorker
12 August 19
As the 2020 elections approach, Abrams is leading the battle against voter suppression.
mong the many issues currently polarizing American politics—abortion, climate change, health care, immigration, gun control—one of the most consequential tends to be one of the least discussed. The American electorate, across the country, is diversifying ethnically and racially at a rapid rate. Progressives, interpreting the shift to mean that, following traditional paths, the new voters will lean Democratic, see a political landscape that is turning blue. Conservatives apparently see the same thing, because in recent years many of them have supported policies, such as voter-I.D. laws and voter-roll purges, that have disproportionately affected people of color.
The issue has become more pressing with the approach of the 2020 Presidential election. In June, the Supreme Court ruled that federal judges do not have the power to address partisan gerrymandering, even when it creates results that “reasonably seem unjust.” Last month, President Donald Trump was finally forced to abandon his effort to add, in defiance of another Court ruling, a citizenship question to the census—an idea that Thomas B. Hofeller, the late Republican strategist who promoted it, believed would aid the G.O.P. in further redistricting. But, days later, the President was telling four American women of color, all elected members of the House of Representatives, to “go back” to where they came from.
The nation got a preview of the battle for the future of electoral politics last year, in Georgia’s gubernatorial race. The Republican candidate was declared the winner by a margin of less than two percentage points: fifty-five thousand votes out of nearly four million cast—a record-breaking total for a midterm election in the state. Many Georgians, though, still use the terms “won” and “lost” advisedly, not only because the Democrat never technically conceded but also because of the highly irregular nature of the contest. The Republican, Brian Kemp, was Georgia’s secretary of state, and in that role he presided over an election marred by charges of voter suppression; the Democrat, Stacey Abrams, has become the nation’s most prominent critic of that practice.
Although she has only recently come to wide attention, Abrams, a forty-five-year-old tax attorney, romance novelist, and former state representative, has been working on electoral reform—particularly on voter registration—in Georgia for some fifteen years. In that regard, some Georgians view her campaign as a success; she won more votes than any Democrat has ever won for statewide office. Georgia is representative of the nation’s demographic changes. The population is 10.5 million, and, according to the Atlanta Journal-Constitution, it was 57.5 per cent white in 2008, fell to 54.2 per cent white in 2018, and will be 53.6 per cent white next year. It will be majority-minority by 2033. Democratic leaders from red states in the South and beyond with shifting populations—they include the Presidential candidates Mayor Pete Buttigieg, of South Bend, Indiana, and former Representative Beto O’Rourke, of El Paso, Texas, as well as the former Agriculture Secretary Mike Espy, who is considering a second run for the U.S. Senate, in Mississippi—have examined Abrams’s campaign to see how they might adopt its strategies. Espy described his discussion with her as “a graduate course in politics.”
Abrams has yet to decide if she will run for office again. For now, she is focussed on addressing the irregularities that her campaign identified. Within days of the election, she formed an organization called Fair Fight Action, which, with Care in Action, a domestic-worker advocacy group, filed a federal lawsuit alleging that Kemp had impaired citizens’ ability to vote, and thereby deprived them of rights guaranteed under the First, Fourteenth, and Fifteenth Amendments. (Abrams is the group’s chair; her former campaign director, Lauren Groh-Wargo, is the C.E.O.) The suit seeks changes to the entire structure of Georgia’s electoral system, from the number of polling stations and the kind of voting machines used to policies on registration. In May, a federal judge for the Northern District of Georgia ruled that the case may proceed.
The clash between Kemp and Abrams drew national attention again in May, as a result of another issue shaping the 2020 race. Kemp campaigned as an antiabortion stalwart, and, for his first major piece of legislation, he signed House Bill 481. A so-called heartbeat bill, H.B. 481 prohibits abortion once “embryonic or fetal cardiac activity” can be detected, which can happen as early as six weeks after conception, before a woman may even know that she is pregnant. Opponents, Abrams among them, call it the “forced-pregnancy bill.” It is scheduled to go into effect in January. Six other states have passed similarly restrictive bills this year. Many opponents say that the laws were designed to push legal challenges to them to the Supreme Court, which, with the appointments of Neil Gorsuch and Brett Kavanaugh, many conservatives believe would now be willing to, in effect, reverse Roe v. Wade.
A week after the signing, Abrams warned, in a minute-long video on Twitter, that “right now, across the South, and around the country, a woman’s right to control her body, and a doctor’s ability to give the health care we deserve, is under attack.” Senators Kirsten Gillibrand, Elizabeth Warren, Amy Klobuchar, and Kamala Harris, all of whom are running for President, also appeared in the video, urging viewers to support organizations working to protect access to safe, legal abortion.
Pro-choice activists called for an economic boycott of Georgia, like the one directed at North Carolina in 2016, after it passed a law prohibiting transgender people from using the public bathroom of their preference. (That law was partly repealed, in 2017.) A number of television and movie production companies have shot on location in Georgia in recent years. But Abrams, who describes herself as a “pragmatic progressive,” discouraged any boycott by those companies, out of concern for workers who would suffer as a result. “I think the superior opportunity for Georgia,” she told the Los Angeles Times, is to “use the entertainment industry’s energy to support and fund the work that we need to do on the ground, because Georgia is on the cusp of being able to transform our political system.” Jordan Peele and J. J. Abrams, the producers of the HBO horror series “Lovecraft Country,” which was scheduled to shoot in the state, announced that they would continue production but donate “100% of our respective episodic fees” to the A.C.L.U. of Georgia and to Fair Fight Action. They added that they wanted to “stand with Stacey Abrams and the hardworking people of Georgia.” (In June, the A.C.L.U. of Georgia, with the Center for Reproductive Rights and Planned Parenthood, brought a suit against the state, alleging that the abortion law was unconstitutional. Last month, the groups sought a court injunction to stop it from taking effect.)
I spoke to Abrams about H.B. 481 when it was still making its way through the legislature, and she framed it as part of a larger set of reproductive-health issues. Georgia has “one of the highest maternal-mortality rates in the nation,” she said, adding that half the counties lack an ob-gyn practice and that, over all, the quality of reproductive care is poor. So she saw an obligation to think about “abortion as one of the tools in the medical tool kit to address reproductive health.” I spoke with her again after Kemp signed the bill, and she made a direct connection between reproductive rights and civil rights. The law is not only radical, she said; it also carries no more legitimacy than the election that gave Kemp the authority to sign it. “This is a perfect example of what the consequences of not having free and fair elections can have,” she said.
In another conversation this spring, Abrams told me, “I live my life with an assumption that I have the right to do the things I think I should do, and that my gender and my race should not be limitations.” Two black United States senators are currently running for President; the Congress is the most diverse ever seated; and an African-American woman, Maxine Waters, serves as the chair of the powerful House Financial Services Committee. In the Presidential elections of 2008 and 2012, black women had the highest voter-participation rate of any demographic group. Yet they are among the least likely to hold elected office. (Women of color constitute just four per cent of statewide elective executives.) Abrams is the first black woman to be nominated for the governorship of Georgia—if she had won, she would have been the first black female governor in the country.
In the spring, she reissued a political memoir, “Lead from the Outside.” The protocols of mainstream American politics generally frown on the word “power.” Abrams sees that as precisely the issue. “Minorities rarely come of age explicitly thinking about what we want and how to get it,” she writes. By contrast, “people already in power almost never have to think about whether they belong in the room.” Abrams is characteristically direct, but such statements are also an attempt to upend the presumptions of what leadership in this society is expected to look like. She goes on, “For most people from the outside, every story you read, every narrative you’re told, except for a couple months out of the year, is about how you’re not supposed to be one of these people.” The net effect, she writes, is that people view themselves as “ancillary, not essential” to the decision-making processes.
Dalton, Georgia, is a city of some thirty thousand people in Whitfield County, in the foothills of the Blue Ridge Mountains, near the Tennessee border. It’s a place earnest enough that it claims Marla Maples, Donald Trump’s second wife, as a famous daughter—even though, technically, she is from nearby Cohutta. The county is overwhelmingly white, though the Latino population, in particular, is growing. In 2016, Hillary Clinton lost there to Trump by forty-five points; in 2018, a non-Presidential election year, Abrams lost it to Kemp by a similar margin, though the Latino turnout increased. Conventional wisdom would hold that time spent by a Democratic politician in Whitfield County is a seed tossed onto arid soil. Abrams would say that, according to that kind of thinking, she never should have run for governor in the first place. Last year, she campaigned in every county; now that she is no longer a candidate, she wants to keep every county engaged with her electoral-reform campaign.
So, on a chilly afternoon on the last day of March, Abrams, who lives in a gentrifying section of Atlanta’s east side, made the ninety-minute drive to Dalton, as part of a tour that she has been conducting around the state. She was ebullient, even though the Dalton appearance would be her second event of the day. She had risen early to speak at the Antioch A.M.E. Church in Stone Mountain, a middle-class suburb of Atlanta. “I’m not a glad-hander,” she told me. “I’m a good responder, but I’m also very comfortable sitting in silence.” Abrams is, nevertheless, an effective speaker. Her speeches are short on grand metaphors, long on blunt, declarative sentences. “Voters aren’t dumb,” she said. “They can tell if you mean what you say.” Cynicism “comes about because people don’t tell you the truth.”
The Dalton Convention Center is a sprawling complex just off Interstate 75, near the site where, a historical marker notes, Confederate forces temporarily repelled William Tecumseh Sherman’s troops as they marched on Atlanta. About a hundred and fifty people had shown up for Abrams’s event, which had been organized by Fair Fight Action. Many of them were older white people, and some had volunteered for her campaign.
Abrams was wearing a navy-blue sheath dress and a braided strand of pearls, and her hair was in her signature twists. When she took the stage, she looked like an attorney about to make an opening argument. She began by thanking the volunteers, the Georgia Democratic Party, and its L.G.B.T.Q. caucus; her campaign actively courted gay and lesbian voters—a month before the election, she became the first nominee of a major party to march in the Atlanta Pride Parade. Then she repeated a line that she uses often, to the irritation of Georgia’s Republican leadership. She said, “I’m gonna tell you what I’ve told folks across this state, and this is not a partisan statement, it’s a true statement: We won.”
She added, “In this election, we tripled Latino turnout, we tripled the Asian-Pacific Islander turnout.” Between 2014 and 2018, according to Fair Fight Action, African-American participation also rose, by forty per cent. (The organization says that its voter figures are more accurate than census data, which show smaller, though still significant, increases.) For Abrams, the point of continuing to try to organize in places like Whitfield County is to create a cross-racial coalition that can make the state more competitive for Democrats. In that sense, her efforts look less like a Hail Mary than like a pass hurled downfield toward a specific receiver whom no one else has noticed.
Abrams may be a symbol of the new Georgia, but she was born in 1973 in Madison, Wisconsin—where her mother, Carolyn, was earning a master’s degree in library science at the University of Wisconsin—and she grew up in Gulfport, Mississippi. Carolyn met Abrams’s father, Robert, in their home town of Hattiesburg, Mississippi, when they were in high school, and in the late sixties they enrolled in Tougaloo College, which had been a center of the student civil-rights movement. Politics has always been a part of the family’s life. In the eighties, Carolyn told me, when she worked as a librarian and Robert had a job as a dockworker, the family picketed a Shell Oil gas station for the company’s refusal to divest from South Africa.
Stacey is the second of six children. Each of the three oldest children was assigned responsibility for one of the three youngest. She was paired with her brother Richard, who is now a social worker in Atlanta. Her older sister, Andrea, has a doctorate in anthropology; Jeanine has a doctorate in biology. Leslie is a federal judge for the Middle District of Georgia. Walter, who attended Morehouse College, has struggled with bipolar disorder and addiction, and has served time in jail. Earlier this year, at the 92nd Street Y, Abrams spoke about his difficulties, as she has done in the past, with his permission, to raise awareness about addiction and mental-health issues. “If our leaders are ashamed to tell real stories, how can we trust them to have real answers?” she said.
In her junior year of high school, the family moved to Atlanta, where both of her parents enrolled in the master-of-divinity program at Emory University’s Candler School of Theology. (They are now retired elders of the Mississippi Conference of the United Methodist Church.) In 1991, Abrams began attending Spelman College, a historically black women’s institution, founded in Atlanta in 1881. (I taught history there from 2001 to 2011.) Johnnetta Cole, an anthropologist who was the first black female president of the college (and later became the director of the Smithsonian’s National Museum of African Art), met Abrams and her parents at the start of her freshman year. Cole remembers that Robert told her, “I want you to know that I am leaving my baby girl Stacey here, but, if anything happens, I’m coming to find you.” She said, “I took a deep breath, and told the Right Reverend that it was my responsibility to make sure that Stacey and all her sisters in that class were as safe as possible, and that we stretched them, so they learned how to fly.”
Abrams had grown up with college-educated parents, but she had never known kids whose families socialized with Presidential Cabinet members or flew on their own jets. Cole encouraged her to run for campus office—by her senior year, she’d been elected student-government president—and allowed her to sit in on meetings of the board of trustees. The idea was to give Abrams, who frequently told Cole how she thought Spelman should be run, insight into the workings of a university. Abrams says that the experience provided her with her first lessons in raising and allocating funds.
A turning point in her understanding of politics came in the spring of 1992, when four Los Angeles police officers were acquitted in the beating of Rodney King, an African-American construction worker. Los Angeles exploded into riots, and there was unrest on campuses across the country. Students from several schools gathered at the Atlanta University Center to protest the verdict. Atlanta’s civic leadership, unlike that of Los Angeles, was largely black—a legacy of the civil-rights movement—and included Mayor Maynard Jackson and the police chief, Eldrin Bell. That fact heightened the indignation of the protesters when the police began teargassing them.
Incensed by sensational portrayals of the protest in the local news, Abrams organized students to call the networks repeatedly to complain, and that led to a meeting with Jackson. In her memoir, Abrams writes, “With a boldness that surprised me, I excoriated his record and scoffed at his leadership. If I’d thought more deeply before I stood I might have held my tongue. . . . In this moment I had access to power, a voice, and a question. Sometimes the why of ambition can only be discovered in nervy actions that cut against our instincts.”
After graduating from Spelman, and earning a master’s degree in public policy from the University of Texas, she entered Yale Law School. It was there that she began writing novels. (She has published eight, under the pseudonym Selena Montgomery, the last of them, “Deception,” in 2009. They feature professional women caught up in romance and intrigue.) “The act of writing is integral to who I am,” she told the Washington Post last year. But fiction was a sideline; she specialized in tax law, and decided to go back to Georgia. She knew that she wanted to pursue a career in government, and, in 2002, when she was twenty-nine, she became a deputy city attorney for Atlanta. Four years later, she won a seat in the Georgia House, representing the Eighty-fourth District, which encompassed part of the east side of Atlanta.
In 2004, the Democrats had lost control of the House for the first time in more than a century, and DuBose Porter, then the leader of the Democratic caucus, was struggling to define its role as the minority. He saw an asset in Abrams. “When Stacey was first elected, she was somewhat reserved,” he told me, but “she instantly gained credibility, because she was kind of like our Google. If you needed some answers on something, you would go ask Stacey.”
Abrams also earned a reputation for being willing to oppose the Republican leadership, though she is not a radical by nature. Her emergence as a national figure has coincided with the left’s ascendancy in the Democratic Party, and many have portrayed her as part of that movement. But colleagues repeatedly point to her ability to forge compromises. Porter ran for governor in 2010—he lost in the primary, and Nathan Deal, a Republican congressman, was elected—and, when Abrams made a bid to replace him as minority leader, he supported her. She won, becoming the first woman to lead either caucus in the Georgia House.
That year, Kemp, then a forty-six-year-old state senator from Athens, Georgia, became the secretary of state. After the 2010 census, the Republicans redrew the district lines. The G.O.P. was expected to pick up seats in the 2012 races, and it was Abrams’s job to try to prevent the Party from winning a supermajority in the legislature. Lauren Groh-Wargo, then a thirty-one-year-old activist turned strategist from Cleveland, who had worked on Democratic campaigns in Ohio, including Governor Ted Strickland’s unsuccessful 2010 bid for reëlection, was looking for candidates to support. She had heard about Abrams and spoke with her a few times by phone, and, in early 2012, when Groh-Wargo was visiting Atlanta, they met for lunch. Abrams hired her as a consultant. Groh-Wargo, who is white and a lesbian, and Abrams represented voices that had never been at the center of Georgia politics, and, together, they pursued a plan to blunt the effects of redistricting through voter mobilization.
Abrams surprised the state G.O.P. by raising more than three hundred thousand dollars to support Democratic candidates that year. The money was spent not on expensive television and radio ads but on voter-turnout strategies, like organizing canvassing teams and volunteer networks. In the end, the Democrats held on to four redistricted seats. “It was a really big deal that the Republicans didn’t get the supermajority they had drawn for themselves,” Groh-Wargo told me.
But Abrams had also discovered how fractious party politics can be. The previous year, as part of a round of budget cuts, Governor Deal considered severely curtailing the state’s popular hope Scholarship, which had used funds from the Georgia Lottery to pay the tuition and the cost of books for hundreds of thousands of qualifying students at certain Georgia colleges. A plan called for full scholarships to be made contingent on SAT scores, which meant that many students would no longer be eligible for them. Abrams agreed to a compromise: a second tier of partial tuition funding was made available to tens of thousands of students who met the previous standard of a 3.0 G.P.A. (Porter pointed out that the compromise spared Georgia’s pre-K program, which was also funded by the lottery.) Liberals criticized the deal, largely because tying the funds to SAT scores would favor suburban, mostly white students. Abrams still sounds stung by the experience. In February, during an interview with the MSNBC host Chris Hayes, she said, “I was accused of selling out the students because they got ten to twenty per cent less. To me, eighty per cent is a lot more than zero.”
Then came the 2013 Supreme Court decision in Shelby County v. Holder, which struck down as unconstitutional a provision of the Voting Rights Act that had required Georgia and other states with a history of discriminatory voter suppression to get “preclearance” from the Justice Department or from a federal court before changing their voting regulations. Legislatures and elected officials in the South and elsewhere immediately embarked on efforts to disenfranchise voters. (Earlier this month, the Brennan Center for Justice reported that seventeen million Americans had been purged from the voter roles between 2016 and 2018, and that the largest increases in purges were in states that had previously been under preclearance.) Abrams launched, and became a part-time C.E.O. of, the New Georgia Project, a nonprofit organization devoted to registering overlooked constituencies: young people, women, people of color.
There were conflicts early on—critics noted Abrams’s $177,000 salary, and, in 2014, Kemp’s office, acting on reports that the group was submitting fraudulent registration forms, began an investigation of more than eighty thousand forms. The Lawyers’ Committee for Civil Rights Under Law filed a suit on behalf of the New Georgia Project and the state N.A.A.C.P., alleging that the state had wrongfully held up thousands of forms submitted by the group; a judge found that the suit lacked sufficient evidence. Ultimately, Kemp’s office identified fifty-three registrations as potentially fraudulent; all of them had been submitted by canvassers who were hired and paid by outside companies that the New Georgia Project had contracted. Kemp’s investigators found no evidence of wrongdoing by the group, and the matter was referred to the state attorney general’s office, where it still awaits possible civil action. The battle proved to be a prelude to 2018.
By 2018, Republicans had won the previous four gubernatorial races in the state, but political strategists were beginning to think that a black candidate who could perform respectably in rural areas and over-perform in the Democratic strongholds around the cities could win. Abrams decided to run, on a platform of Medicaid expansion, affordable housing, criminal-justice reform, and gun control. She defeated the former state representative Stacey Evans in the primary, in a contest cast as the Battle of the Staceys.
Kemp had also decided to run, and he campaigned on an anti-immigration, pro-gun platform, supporting tax cuts and opposing Medicaid expansion. Trump endorsed him, and after a primary runoff he became the Republican nominee. But he didn’t resign his office, which meant that he oversaw an election in which he himself was a candidate—a conflict of interest that Abrams likened to a boxing match in which one fighter is also the referee and one of the judges.
Kemp, who described himself as a “politically incorrect conservative,” did not endear himself to the emerging electorate. He appeared in campaign ads with a truck that he said he drove in case he needed to round up “criminal illegals.” Another ad accused Abrams of “dancing around the truth” of her financial history, while showing a clip of tap-dancing feet. Some viewers saw this as a racist reference to minstrelsy. (Abrams had disclosed that she was two hundred thousand dollars in debt, citing student loans and the costs of helping support family members. She also owed the I.R.S. more than fifty thousand dollars in deferred tax payments, which she said she was repaying. She noted that three-quarters of Americans are in debt, and that it shouldn’t prevent them from running for office.)
Kemp’s office declined to comment on the election for this piece, though he has called reports of voter suppression “a farce.” A spokesperson pointed to a new report from the U.S. Election Assistance Commission that lists Georgia as the leading state for voter registration through its motor-vehicle department. But there was a broad range of complaints during the campaign. In July of 2017, according to a study by American Public Media, the secretary of state’s office, under a “use it or lose it” policy, and allegedly as part of an effort to prevent voter fraud, cancelled the registrations of a hundred thousand voters who hadn’t voted in seven years. Kemp also enacted an “exact match” policy, which required information on voter-registration applications to precisely match information on other official records. Something as minor as a missing hyphen could put a registration on hold. The registrations of fifty-three thousand voters, seventy per cent of whom were African-American, were set aside for review. The race drew national attention as more complaints were lodged, including reports that residents who had become citizens were wrongly informed that they could not vote. Voters who requested absentee ballots said that they never received them. The state Democratic Party reported that forty-seven hundred absentee-ballot requests from DeKalb County, which is more than fifty per cent black, had gone missing.
Four days before the election, U.S. District Court Judge Eleanor Ross ruled that the exact-match policy presented a “severe burden” for voters, and allowed three thousand new citizens whose registrations had been held up to vote. The day before the election, the Brennan Center brought a lawsuit on behalf of Common Cause Georgia, a nonprofit, nonpartisan organization that focusses on election integrity, alleging that a vulnerability in the registration database left it open to hacking, and requested that Kemp’s office insure that provisional ballots be properly counted. On Election Day, November 6th, there were numerous reports that polling places ran out of provisional ballots; residents of Gwinnett County, a heavily minority district outside Atlanta, had to wait in lines for hours to vote.
Lawyers for the Abrams campaign sought more time for ballots to be examined; a margin of less than one per cent would have triggered a recount. The next Monday, U.S. District Court Judge Amy Totenberg ordered Kemp to open a hotline so that voters could determine if their provisional ballots had been counted. The state had planned to certify the results the next day, but Totenberg ordered that no certification occur before 5 p.m. that Friday. By the end of the week, though, it became clear that there would not be a recount, and, on the night of November 16th, Abrams gave a speech in which she said, “I acknowledge that former Secretary of State Brian Kemp will be certified as the victor of the 2018 gubernatorial election. But to watch an elected official—who claims to represent the people of this state—baldly pin his hopes for election on the suppression of the people’s democratic right to vote has been truly appalling. So, to be clear, this is not a speech of concession.”
Many people in and outside Georgia believe that, without the irregularities, Abrams would have won. In early June, in Atlanta, Joe Biden, the front-runner for the 2020 Democratic Presidential nomination, told the African American Leadership Summit that “voter suppression is the reason Stacey Abrams isn’t governor.” Addressing the same event, Pete Buttigieg said, “Stacey Abrams ought to be governor right now.”
In March, I interviewed Abrams for an event at the Brookings Institution, in Washington, D.C., and asked her why she thought voter suppression, an issue most closely associated with the civil-rights era, had reëmerged as a pivotal concern across the country. She replied, “We’ve never not been in this situation.” Historically, Georgia’s gubernatorial elections, in particular, have highlighted the nexus between racism and voter suppression. In 1906, the Democratic-primary race—between Hoke Smith, a former publisher of the Atlanta Journal, and Clark Howell, the editor of the Atlanta Constitution—became a competition over who would do more to disenfranchise the African-American population. The escalating rhetoric, amplified by the candidates’ newspapers, set off a riot that left at least twenty-five blacks and two whites dead. In 1946, Governor Eugene Talmadge, a noted segregationist, lost the popular vote in the Democratic primary to James V. Carmichael, an Atlanta businessman who was a moderate on racial issues. But Talmadge was declared the winner, owing to Georgia’s notorious “county unit” system, which gave disproportionate weight to rural areas. In 1966, Lester Maddox, an Atlanta restaurant owner, won the office after refusing to serve black customers, in open defiance of the 1964 Civil Rights Act.
In 1971, Maddox was succeeded by Jimmy Carter, but even Carter, who would become an icon of Southern liberalism, was not immune to the contortions of Georgia politics. He had lost a bid for the governorship in 1966, when he was a state senator, in part for appearing insufficiently conservative on matters of race. (He had worked to repeal voter restrictions.) In 1970, he courted the support of white conservatives, and Maddox, who was running separately for lieutenant governor, endorsed him. But Carter announced, in his inaugural address, that “the time for racial discrimination is over,” and set about integrating the state government. In the 1976 Presidential election, he carried every state of the former Confederacy except Virginia, winning just forty-five per cent of the white vote, but ninety-five per cent of the black vote.
Beginning in the nineteen-seventies, Georgia—particularly Atlanta—became a destination for a growing number of educated African-Americans repatriating to the South. Between 2000 and 2010, the state’s black population grew by twenty-five per cent, and the Latino population almost doubled, to nearly nine per cent. By 2010, Asian-Americans accounted for three per cent of the population. But those changes were not entirely reflected at the polls. In 2016, six hundred thousand African-Americans who were eligible to vote remained unregistered. Many people viewed this fact as a reflection of the Democratic Party’s pessimism toward the potential of the black electorate in the state. In 2008, Ben Jealous, then the director of the N.A.A.C.P., told me that Democrats were ignoring a political bounty by failing to allocate sufficient money to organize and register black Georgians.
Shortly before Abrams announced her candidacy, she told me, in a phone conversation, that, if she ran, her campaign strategy would rely on registering those six hundred thousand people. During our Brookings discussion, I said that she probably could have heard my eyebrow raise over the phone. “More like I could hear your eyes rolling,” she said. In her public appearances, Abrams often rattles off statistics about the election. But one statistic stands out: nine hundred and twenty-five thousand African-Americans voted in the 2014 gubernatorial race; in 2018, 1.4 million African-Americans voted—ninety-four per cent of them for Abrams.
The fact that her campaign had conceived of a plan that, at least in theory, made Georgia look like a purple state has not gone unnoticed. “The path to victory as a Democrat here is you have got to build a multiracial, multiethnic coalition,” Groh-Wargo told me. “You have got to get super intellectually curious about African-American voters, about Latino voters, about Asian-American voters, about millennials, and white suburbanites.” When I asked Abrams if the national Party had invested too heavily in those communities in 2016, at the expense of the lower-income white electorate, ushering in Trump’s victory, she rejected the framing of the question. “I think where the Democratic Party has gotten into trouble is that we’ve created a binary, where it’s either the normative voter we remember fondly from 1960”—the working-class white male—“or it’s the hodgepodge. The reality is that we are capable as a society of having multiple thoughts at the same time. That’s one of the reasons why I went to the gay-pride parade,” she added. “I know that, as an ally, I’m responsible for making certain that the L.G.B.T.Q. community is seen and heard.” Most elections are framed as a referendum on the future; Georgia’s race was about how much of the past had been dragged into the present.
All this leaves open the question of what Abrams will do next. Chuck Schumer, the Senate Minority Leader, tried to persuade her to run against David Perdue, Georgia’s junior senator, who is up for reëlection in 2020. In May, she announced that she would not run next year, a decision that was met with disapproval from observers who think that it’s incumbent on prominent Democrats to help the Party win control of the Senate. Abrams defended her decision to me by saying, “I was following the protocol that I set for myself, making sure that I take on jobs and roles because they are the right thing for me, and not simply because they’re available.” Strategists thought that she could beat Perdue; Trump’s approval rating in Georgia has dropped seventeen points since his Inauguration, and Perdue’s close ties to the President may make him vulnerable in the suburbs, where Abrams fared well. She was less sanguine about the part that would come next. The prestige of the Senate does not, in her estimation, offset its torpid pace of change. “It is a more indirect approach than the one I see for myself,” she said. “When I thought through who would be the best advocate in the U.S. Senate for Georgia, under the structure of the Senate, that was not me.”
Yet Republican control of the Senate has been key to some of the issues that most concern her. If it weren’t for the confirmation of Kavanaugh to the Supreme Court, an imminent challenge to Roe v. Wade would be much less likely. Similarly, the Supreme Court ruling in Shelby County v. Holder left open the possibility that Congress could create an updated standard for voter protection. One such effort is the Voting Rights Advancement Act of 2015, which was co-sponsored by John Lewis, the longtime Georgia congressman and civil-rights leader. The bill, among other things, calls for any jurisdiction that’s been found to have committed repeated voting-rights violations in the past twenty-five years to be re-subjected to preclearance for ten years. Abrams has testified twice this year before Congress in support of such measures. (The Fair Fight Action lawsuit calls for Georgia to be put back under preclearance requirements.) A new voter-protection standard has almost no chance of passing the Senate now. It could, though, if Democrats gain control of the chamber.
Then there is still the question of the governorship. Abrams could run against Kemp again, in 2022, though some aspects of the past campaign are still being fought. In April, Kemp signed two significant bills that addressed some of the issues raised by Democrats and the Common Cause lawsuit, such as extending the “use it or lose it” period and insuring protections for voters using absentee and provisional ballots. New voting machines will be installed by next year, though there are concerns about security. And the new secretary of state, Brad Raffensperger, has opened an investigation into the forty-seven hundred absentee-ballot applications that were reported missing.
But, also in April, David Emadi, the new head of the Georgia Ethics Commission, subpoenaed financial records and correspondence from Abrams’s campaign, to investigate contributions from four groups that, according to the subpoenas, may have exceeded the limit for statewide candidates. Groh-Wargo called the move “insane political posturing,” and pointed out that Emadi was a donor to Kemp. (He contributed six hundred dollars to Kemp’s 2018 bid.) Emadi said in a statement that audits and investigations of all the campaigns are ongoing and that “all of these candidates enjoy the presumption of innocence in these matters unless and until evidence indicates otherwise.”
There is also the question of whether Abrams will run for President. Supporters have been calling on her to do so since last year. (In January, she delivered a well-received response to Trump’s State of the Union—an honor generally afforded to a high-ranking officeholder.) A few months ago, she was mentioned in the press as a potential running mate for Biden—a development that caught her off guard. She had met with him, but they did not discuss a joint ticket. When I asked her about that possibility, she promptly shut it down: “I don’t believe you get into a race to run for second place.”
Abrams defended Biden earlier this year against allegations of inappropriate behavior with women, saying, “We cannot have perfection as the litmus test. The responsibility of leadership is not to be perfect but to be accountable.” She was equally politic when I asked her about Biden’s dispute with Kamala Harris, particularly over his history of opposing busing: “While America must reckon with its past, my focus is on how the next President will address the persistent issue of inequity in public education.” Her name will likely continue to show up on various shortlists for the Vice-Presidency.
What is not likely to change, at least in the short term, is the dynamic of the contest between two political directions, one of inclusion, one of resentment. Abrams told me, “What we did in our campaign was realize that the fundamentals are true for everyone. Everyone wants economic security. Everyone wants educational opportunity for their children and for themselves.” It’s an optimistic view—a belief that people are motivated more by their common aspirations than they are by their tribal fears. Abrams’s own future, no matter what she does next, hinges on that being true.

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FOCUS: It's Time to Take a Stand Against This Madness |
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Written by <a href="index.php?option=com_comprofiler&task=userProfile&user=35918"><span class="small">Michael Moore, Michael Moore's Facebook Page</span></a>
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Monday, 12 August 2019 10:23 |
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Moore writes: "American Olympic champion, fencer Race Imboden, took a knee on the medals podium during the national anthem at the Pan-American Games yesterday as he called for social change in the US."
Michael Moore. (photo: Getty)

It's Time to Take a Stand Against This Madness
By Michael Moore, Michael Moore's Facebook Page
12 August 19
merican Olympic champion, fencer Race Imboden, took a knee on the medals podium during the national anthem at the Pan-American Games yesterday as he called for social change in the US. He said:
This week I am honored to represent Team USA at the Pan Am Games, taking home Gold and Bronze. My pride however has been cut short by the multiple shortcomings of the country I hold so dear to my heart. Racism, Gun Control, mistreatment of immigrants, and a president who spreads hate are at the top of a long list. I chose to sacrifie my moment today at the top of the podium to call attention to issues that I believe need to be addressed. I encourage others to please use your platforms for empowerment and change.”
We must all join him and others who risk criticism and punishment and take our own personal stands against this madness. Are you ready?
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The Sharpest Lens on the Arab World Belongs to the Arab Women Reporting There |
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Written by <a href="index.php?option=com_comprofiler&task=userProfile&user=51011"><span class="small">Maryam Saleh, The Intercept</span></a>
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Monday, 12 August 2019 08:35 |
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Saleh writes: "To say that Arab, Middle Eastern, and North African women are disrupting stereotypes is as cliche as those stereotypes themselves."
The home of a vegetable seller, his wife, and their eight children 14 months after the Saudi-led coalition bombarded the Al-Fulaihi area of the UNESCO World Heritage site in the old city of Sana'a, Yemen, on Dec. 20, 2016. (photo: Amira Al-Sharif; Courtesy Penguin Random House)

The Sharpest Lens on the Arab World Belongs to the Arab Women Reporting There
By Maryam Saleh, The Intercept
12 August 19
n late 2010, Tunisian street vendor Mohamed Bouazizi set himself on fire, and Zahra Hankir started a Google Doc titled “Mideast Reporters.” Bouazizi’s self-immolation, an act of protest against police corruption, would become the catalyst for anti-government protests across the Middle East and North Africa. Hankir, then a reporter at Bloomberg News, wanted to keep track of the journalists documenting that pivotal moment in the region’s history.
As the years wore on, some of the region’s dictators fell from power, while others maintained their ironclad rule, setting the stage for protracted regional wars that took an enormous human toll and had global reverberations. Hankir, meanwhile, continued to add to her list of journalists covering the aftermath of the so-called Arab Spring, and she began to notice a pattern.
“Soon I observed that not only were there more men than women reporting on the region for international media, but most of the reporters were Western,” writes Hankir in the introduction to “Our Women on the Ground: Essays by Arab Women Reporting From the Arab World,” which the Lebanese British journalist edited. “The gap came as no surprise to me, but to see it in such plain form was a shock nonetheless.”
The result is the anthology, published this week, which features contributions from 19 “sahafiyat,” or women reporters, who have reported from across the Arab states of the Gulf, the Levant, and North Africa. Their diverse personal and professional experiences bring much-needed nuance to coverage of a region whose trajectory has, for decades, largely been shaped by U.S. foreign policy, and whose stories reach the general public through the filters of Western media gatekeepers.
The sahafiyat, Hankir writes, “intrepidly crush stereotypes” in the age of Donald Trump, the rise of the far-right across Europe, and ISIS. This framing does not do justice to the trailblazing journalists. To say that Arab, Middle Eastern, and North African women are disrupting stereotypes is as cliche as those stereotypes themselves: These women ought to be appreciated for their impressive accomplishments without couching it within Western assumptions about them as docile and subservient. The essayists, in fact, seem unperturbed by how the West may see them and appear beholden only to the communities they come from and whose complexities they seek to explore.
The contributors to the anthology hail from Egypt, Iraq, Lebanon, Libya, Morocco, Palestine, Sudan, Syria, and Yemen – where a shared linguistic heritage brings people together despite cultural and religious differences. In their essays, the women — some of whom report on the societies in which they were born and raised, while others are daughters of the diaspora — reflect on a wide range of challenges. Their careers have put them in the crosshairs of patriarchy and sexual harassment. Some have confronted a lack of media independence, and others have paid dearly in their personal lives as a result of their work. They grapple with the morality of packaging the misery of some of the world’s most vulnerable people for public consumption, and they wonder whether they’ve done the subjects of their reporting justice. The common thread across their vastly different experiences is the authenticity and knowledge that come with their personal ties to the region.
“Unlike many of the foreign correspondents covering Syria who had never been to the country before the war,” writes Zeina Karam, a Lebanese journalist with the Associated Press, “I had been visiting Syria ever since I was a little girl.”
In an essay on her coverage of the Iraq war, Palestinian Canadian journalist Jane Arraf ponders whether her Arabness contributed to the strength of her reporting on U.S. troops who spoke virtually no Arabic and lacked basic cultural awareness. “Would it have been equally painful to watch the train wreck unfold had I not been Arab?” she writes. “I think the tragic miscalculations of the war would have been. But I might not have been as conscious of the depth of misunderstanding as worlds collided.”
Working Under Pressure
The sahafiyat work across different mediums, some of them for local news organizations that publish in Arabic, and others for international outlets that cater to an English-speaking audience. The tracks are different but equally important: The women producing journalism in and for their home countries often find themselves battling the patriarchy, while those writing for Western audiences play a critical role in improving public understanding of an oversimplified region.
Lina Attalah, an Egyptian journalist who co-founded the independent news site Mada Masr in 2013, finds herself at the intersection of both of those roles. Her work in English made her “an extension of the object of the typical Western gaze,” she writes, “albeit an exciting extension because of the irregularities I presented: I was an Arab woman whose activism was visible to the public, against the odds of the prevalent conservatism and patriarchy associated with the region. Speaking and writing invitations on the back of my gender started rolling in one after another. You may even consider this essay to be one of them.”
Egyptian photojournalist Eman Helal, meanwhile, recounts facing deep misogyny and sexism within her newsroom, where her male colleagues made fun of her work on a project documenting sexual harassment in the streets of Egypt. Zaina Erhaim, a Syrian journalist, found that, despite the promise of freedom that came with her country’s 2011 uprising, she was pressured to conform her style of dress to the expectations of “strange, armed men” while working as a journalist in rebel-held regions. The result was constant self-censorship, even after she fled Syria and found refuge in Europe. “Over the past four years, I have barely had ten articles published, even though I have written eighty pages of outlines and notes saved in a file on my laptop entitled ‘Can’t Be Published,’” she writes.
The countries from which the women reported are among some of the worst countries for press freedom in the world, according to the Reporters Without Borders World Press Freedom Index; Sudan, for example, ranks 175 out of the 180 countries on the index. Sudanese journalist Shamael Elnoor writes about working at Al Shorooq, Sudan’s national broadcaster, and being pressured to report on unrest in the country in the light most favorable to the ruling party. “Our youth were being shot dead by the ruling militia, and the police were calling them ‘vandals and criminals,’” she recalls. “As an editor and producer at the channel, I was instructed to repeat those expressions and inject them into my news reports, with no regard to ethics.” She eventually quit that job, but she continued to be critical of the regime in her reporting, leading to a massive, coordinated harassment campaign — encouraged by an imam who was supportive of ISIS in Sudan — in which she was labeled an infidel.
It is the apparent fate of reporters in the Middle East and North Africa to find themselves constantly covering conflict, from Yemen to Palestine, and from Libya to Iraq. “In hindsight, it seems so facile to see Iraqi women only through the prism of their war-ravaged lives, but how else do you report a story where pain is etched on the face of every woman you interview?” reflects Hannah Allam, an NPR reporter who was McClatchy’s Baghdad bureau chief during the Iraq War. The stories she didn’t get to report, about how “witty or sweet or vulnerable Iraqi women could be,” Allam writes, were “written in my heart if not my notebook, and the ones that I recall more easily than any I published under a Baghdad dateline.”
Amira al-Sharif, a Yemeni photojournalist, has made it to her life’s work to tell those seldom-told stories. “Western photographers tend to be drawn to the carnage,” she writes about the war that has gripped her country since 2015, “but I have continued to seek out the other part of Yemen that is full of life, love, and hope.”
Bylines and Identities
Like Hankir, I, too, began to keep tabs on the Mideast reporting corps in the wake of the Arab Spring, paying particular attention to coverage of Syria — the country where my parents were born and from which their families were exiled decades ago. I kept a mental list of Arab writers covering the revolution-turned-war; they became my personal heroes as I set out on a career path toward journalism.
There was Raja Abdulrahim, a Syrian American who reported from inside the country for the Los Angeles Times before moving to the Wall Street Journal. And Alia Malek, another Syrian American who reported discreetly from Damascus and documented her own family’s history in a compelling memoir. There was also the Lebanese Australian Rania Abouzeid, who last year published a masterful, character-driven book based on her years of reporting from Syria’s rebel-held territory. Although not a journalist, Lina Sergie Attar, who initially wrote under the pseudonym Amal Hanano, is in my mind one of the defining writers of the Syrian conflict; her essays, published in the New York Times, Foreign Policy, Politico, and elsewhere, capture the deep pain of the Syrian experience, of watching our home country unravel from afar and being helpless to stop it.
Seven of the journalists who contributed to Hankir’s anthology spent some portion of the last eight years covering Syria; three of them are of Syrian descent. Their reflections on the evolution of their relationships with Syria felt deeply familiar to me, and their exploration of the links between the personal and the professional are likely to resonate with all journalists whose work intersects with their personal identities.
“Syria: never the country I called home, but certainly my homeland,” writes Nour Malas, a Wall Street Journal reporter. “I would untangle the many shades of this identity at the very moment the country was coming undone.”
Like Malas, I always knew I was from Syria, but I never felt fully Syrian. I was, after all, born and raised in the United States and barred from visiting Syria due to decades of entrenched political repression. It was the protests of 2011 that led me down the path of exploring my relationship to the country of my parents’ birth. I suddenly found myself bonding with people through our shared cultural heritage. I straddled the line between activist and aspiring journalist, using Facebook, Twitter, and Skype to forge connections with young Syrian protesters and media activists, many of whom eventually joined the exodus out of Syria.
As a student, I wrote a handful of articles about Syria for niche publications like Syria Deeply and The Majalla. As my journalistic career developed, my interest in Syria persisted, but it became clouded by fears that my personal connection to the country would be seen as a liability — not a plus.
This is a feeling Malas reflects on in her essay: “I was so aware—even paranoid—of my personal connection to the story that I strained to project unreasonable neutrality, sometimes to the point of pretending I had no sympathy for any tragedy, on any side.”
Empathy is a key journalistic trait, particularly crucial where reporters are interacting with deeply vulnerable populations. It is, of course, possible to develop empathy without a personal connection to a story, but there is little that can come close to the feeling of being invested in adequately portraying the story of one’s homeland.
I think often of the ways my familial background helped me forge relationships with Syrian strangers. Whether it was the Syrian refugees in Chicago who let me into their homes when I was a graduate student of journalism, or the Syrian women in Turkey who shared their experiences with me when I was on assignment for The Intercept, I have no doubt that my Syrian identity — and the fact that I spoke in Arabic in the same dialect as they did — opened those reporting doors for me.
Which brings me to a more difficult question: Who benefits from these stories we tell? Who benefits when we use our proximity to the story to produce content for the Western gaze? Natacha Yazbeck reflects on this ethical conundrum: “I get thanked a lot for my dedication to the little Alis,” Yazbeck writes, remembering a young boy who was the sole survivor in his family of a massacre in Syria. “It is useful when you can talk to them in their own tongue, because it’s like you are one of them. It’s our capital in English, our brand. Our raseed in Arabic. Our capital. We force our own names over little Ali’s and call it a byline.”

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Michelle Obama and Other Black Female Writers and Thinkers on Toni Morrison's Life and Legacy |
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Written by <a href="index.php?option=com_comprofiler&task=userProfile&user=51367"><span class="small">Michelle Obama, Esi Edugyan, Sherrilyn Ifill, Sarah Ladipo Manyika, Tayari Jones, Jacqueline Woodson, Michele L. Norris, Leah Wright Rigueur, The Washington Post</span></a>
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Sunday, 11 August 2019 12:55 |
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Excerpt: "We belong, she showed us, not just in paperback books but in textbooks, not just in a publishing house but in the White House."
Toni Morrison in an undated photo. Her prose, often luminous and incantatory, rings with the cadences of black oral tradition. (photo: James L. McGuire)

Michelle Obama and Other Black Female Writers and Thinkers on Toni Morrison's Life and Legacy
By Michelle Obama, Esi Edugyan, Sherrilyn Ifill, Sarah Ladipo Manyika, Tayari Jones, Jacqueline Woodson, Michele L. Norris, Leah Wright Rigueur, The Washington Post
11 August 19
Michelle Obama
“We belong, she showed us, not just in paperback books but in textbooks, not just in a publishing house but in the White House.”
The summer after my senior year of high school was a slow one for me. I’d had a cyst removed from my wrist, and a heavy white cast cocooned my forearm up to my elbow. There wasn’t a lot I could do. Sidelined on my parents’ couch in the South Side heat, I picked up a paperback copy of “Song of Solomon.” I hadn’t heard of Toni Morrison yet, so I can’t say I did it because I was curious about her writing, or that I was being purposeful about supporting African American women authors. The truth was, I didn’t know anything about the book. It was simply there in the living room, just like me.
I like to think that this is the way that she would have liked it; that she’d have wanted the tidiness of her prose, the interiority of her characters, the complexity of the stories to stand on their own, away from her growing legend. Toni Morrison understood, you see, that people gravitate to what’s real. And in her writing, the truth was always right there on the dog-eared pages.
For me and for so many others, Toni Morrison was that first crack in the levee — the one who freed the truth about black lives, sending it rushing out into the world. She showed us the beauty in being our full selves, the necessity of embracing our complications and contradictions. And she didn’t just give us permission to share our own stories; she underlined our responsibility to do so. She showed how incomplete the world’s narrative was without ours in it.
It’s a thread running through “Beloved” and “Sula” and “The Bluest Eye” and all of her work — that black stories, particularly the stories of black women and black girls, are worthy of examination and celebration. Again and again, she was unapologetic about that fact, deliberate in proving that our stories are rich and deep and largely unexplored. We belong, she showed us, not just in paperback books but in textbooks, not just in a publishing house but in the White House. And on their own, our stories are more than enough to inspire a Nobel laureate.
In the years since that slow, scorching summer on the couch, I’ve read “Song of Solomon” twice more, cover to cover — once as a young professional and once more as a young mother. Each reading has revealed new lessons that accompany my own changing perspective as I’ve grown and evolved. Each reading also serves as a reminder of the patience and rigor she demands. I often find myself reading and rereading passages multiple times in order to uncover her secrets. But that work is part of what makes the act of reading her so special; that at times, you have to earn her wisdom.
I’m sure that someday I’ll pick up “Song of Solomon” again and see what new lessons it has for me at this new stage in my life, now that my own girls are off writing their own songs. That’s perhaps the best thing about Toni Morrison. It will never really matter how many years have passed since her novels were first published. The words may have been new when she wrote them, but the truth behind them wasn’t. She was simply uncovering the beauty that was always there.
Michelle Obama is the former first lady of the United States and the author of “Becoming.”
Esi Edugyan
“In the unexpected slide of her sentences, she was our foremost poet, our foremost truth-teller.”
In 1998, when I was an undergraduate at the University of Victoria, my father sent me a parcel. I’d gone there to study writing, and I was still reeling at the impossibility of it — still feeling myself an imposter, astonished that someone like me could even begin to think of herself as a writer. A parcel was an unusual gesture on my father’s part — we weren’t particularly close, and the weight of the package suggested more than a short letter. I opened the slender manila envelope to discover a copy of Time magazine bearing Toni Morrison’s portrait, a sticky note hastily pasted over it. My father’s scrawl read, simply, “Thought you might enjoy this.”
I could not have expected how much this simple, thoughtful gesture would change my whole sense of myself.
I had, of course, heard of Toni Morrison; when she won the Nobel Prize in 1993, I remember attempting to read “Tar Baby,” but I was young and unpracticed, 15 years old, and it was not a book for my immature sensibility. My father’s parcel sent me back to her work as a young woman — and, more important, as a budding writer — and what I found there shook me.
It seems we all have these stories — when we first discovered her work, how profoundly it marked us. For a generation of black female writers in particular, she was crucial, the one without whom nothing would have been possible. Her work spoke of our lives and directly to us, and it was also universal. She gave us the permission of visibility; she said, as much with the fact of her body as with her stirring prose, that lives that had rarely been acknowledged in serious literature without ridicule or censure not only mattered but also were a central part of the Western story. She looked directly and sometimes mercilessly at the choices of the vulnerable and at the powerful who profited off that vulnerability, and she allowed the inevitability of their tragedies to play out in ways that sometimes left us outraged or wounded, but never indifferent.
She wrote of black life in all its complexity, quarreling with the notion that the “black experience” was a single monolithic thing. She spoke as honestly about the marginalization of black people within the larger fabric of American society as about the ways black communities can fracture and sometimes turn against themselves. No one, it seemed to me, had written as soberly about the pain of colorism, about how absent fathers can derail a life, about the ways that class and gender complicate race. She dragged into the light issues plaguing lives that until then had rarely been discussed in the mainstream.
But her concerns were universal, and Morrison spoke about how thwarted desires, both grand and small, can utterly destroy a life. She was never instructive, nor was she relentlessly dark — there was always lightness, both in her touch and in her insistence on an essential human goodness. She was deeply moral without being moralizing.
And all this was written in a prose as exacting and exquisite as anything that has ever been set to paper. To read Morrison aloud is to revel in the astonishing musicality of the English language (which in these days of Twitter and Facebook is easy to forget). Her phrases were touched by the cadences of black dialects, but also by Homer and the King James Bible. I remember hearing her described as a “black Faulkner.” And yes, she did share William Faulkner’s almost alien reach with language, but she was sui generis, entirely her own creation. In the unexpected slide of her sentences, she was our foremost poet, our foremost truth teller.
Esi Edugyan is the author of “Half-Blood Blues” and “Washington Black.”
Sherrilyn Ifill
“The ‘word’ she brought forth was one of life, of dignity, of survival, of integrity.”
I always marvel when I see people reading Toni Morrison on the subway or on planes. When I read her, I am conscious that at any moment, her writing can, without warning, bring me to my knees, and provoke an embarrassing, emotional response I’d rather not have witnessed by strangers. This happened to me while reading “Home,” Morrison’s 2012 novel about a young man who returns to his hometown to save his sister Cee Money and reconcile them both to long-held family secrets.
As Cee recovers from abuse she suffered at the hands of a sadistic doctor, she is forced to address the profound issues of abandonment that made her vulnerable to abuse. Cee explains to one of the older women taking care of her that she was unloved by her mother and raised instead by a disapproving grandmother. Cee’s belief that she is unworthy of love has left her unable to protect herself. She gets no platitudes or sympathy in response. Her caretaker tells Cee that her emotionally impoverished childhood reflects her mother’s deficiency, not her own. Cee realizes that her mother should have cherished her and told her, “You my child. I dote on you. ... You born into my arms. Come on over here and let me give you a hug.”
Reading those words I unexpectedly burst into tears and wept for 20 minutes. Not tears of grief for Cee, but tears of gratitude for my own mother who, it suddenly and earth-shatteringly occurred to me, had done precisely this for me in the five short years we had together. Dying of cancer, and with nine other children who needed her love and attention, she managed to give her youngest the experience of unconditional, doting love that gave me an unshakable sense of my own worth, which I carry to this day. This is essential armor, Morrison tells us, that women need to meet the inevitable challenges to our self-esteem that we will confront in our lives.
I am also a huge fan of Morrison’s nonfiction work. Her 1992 volume about the issues of race and gender in the Clarence Thomas Supreme Court confirmation hearings was literally a bible for those who were shattered by that weeklong televised drama. She understood that to process what was for so many of us a kind of traumatic national event, we needed, as she wrote in her introduction, “perspective, not attitudes; context not anecdotes; analyses not postures.” She was there to help, assembling a “who’s who” of African American scholars who could situate this dramatic and devastating event into the framework of our historical and contemporary race and gender struggles.
And we cannot forget that Morrison’s voice was its own body of work. She was a kind of a preacher. Her interviews and speeches are mesmerizing. And the “word” she brought forth was one of life, of dignity, of survival, of integrity. When you listened to her, you believed that these were unmovable, nonnegotiable truths to which each one of us is entitled, because she so effortlessly embodied them.
Toni Morrison — who, it seemed, was always there — is gone. In her tribute to James Baldwin, Morrison wrote, “You gave us ourselves to think about, to cherish.”
This was also the gift she gave to us. Rest in power.
Sherrilyn Ifill is the president and director-counsel of the NAACP Legal Defense and Educational Fund.
Sarah Ladipo Manyika
“I remember how we laughed.”
When I heard that Toni Morrison had died, I walked to a church in Peckham, South London, and sat on an empty bench outside. I wanted quiet, but I also yearned for the church bells to ring out in celebration of a mighty writer whose voice rang clearly in my head.
I remember that Easter Saturday, in 2017, when I spent an afternoon in Toni’s home — and she said to call her Toni. She told us about the novel she was working on. She planned to call it “Justice.” I remember how she sat straight-backed and magnificent in black trousers, caftan and woolen cap, waiting for the interview to begin.
She said in “Justice,” there was a slave owner named Goodmaster who made his slaves call themselves Goodmaster. The slaves kept the detested surname to make it easier to find each other in later generations. Three of the descendants would be her characters. She’d named them Courage, Freedom and Justice. I remember thinking we have not yet emerged from this struggle and wondering whether she completed “Justice” and whether justice can ever be complete.
When, in the course of our interview, I mentioned James Baldwin, she sighed lovingly and called him “Jimmy.” I remember what she wrote of him in the wake of his death — of his gifts to her of tenderness, courage and language. She, too, gave us these gifts, especially the courage to write our stories without a care for anyone’s gaze.
I remember her Nobel Lecture and the lines I had committed to memory: “Language can never ‘pin down’ slavery, genocide, war. Nor should it yearn for the arrogance to be able to do so. Its force, its felicity, is in its reach toward the ineffable.” In that lecture, she told the parable of an old woman, and I remember the intensity of the questions the woman is asked. “Tell us what it is to be a woman so that we may know what it is to be a man. What moves at the margin. What it is to have no home in this place. To be set adrift from the one you knew. What it is to live at the edge of towns that cannot bear your company.” Toni wrote that in 1993 — it could have been written in 2019.
I visited her guest bathroom that Easter Saturday and found it filled with photographs of writers I had long admired — Wole Soyinka, Gabriel García Márquez, Baldwin — and a letter from the Nobel Committee announcing its decision to award Morrison its highest honor. There was also a “Publication Denial Notification” outlining why Morrison’s novel “Paradise” was banned from Texas correctional facilities for fear of “inmate disruption such as strikes or riots.”
I remember just how much she made us laugh that day. I asked her what President Barack Obama had whispered to her after presenting her with the Presidential Medal of Freedom and being surprised when she said she didn’t remember. I realized later that she, the master storyteller, was simply explaining that when one is in awe of someone, what stays in the memory is not what is said but how it is said. It was her son who later asked Obama what he had whispered into his mother’s ear. “I love you,” Obama answered.
I remember at the end, telling her that my son wanted to know her secret to writing so well. “Tell him I’m a genius,” she smiled. I remember how we laughed.
Sarah Ladipo Manyika is a British-Nigerian novelist and author of “Like a Mule Bringing Ice Cream to The Sun.”
Tayari Jones
“She wasn’t one to search for common ground; she was looking for the true path forward.”
People often ask me what Toni Morrison has meant to me as a writer. No novelist has influenced me more. I tip my hat to her in some way in each of my novels. In my latest, my hero is from the town of Eloe, the fictional hometown of Son, the troubled hero of “Tar Baby.” I make these gestures as an homage to the greatest writer of our time but also as a gesture of gratitude to the woman whose wisdom helped me understand my real life, the one I live in private, off the page.
Morrison wrote novels that gave us cautionary tales on life and love, but she also modeled the way forward. These stories nudge us away from respectability in favor of true respect for ourselves, and each other. She wasn’t one to search for common ground; she was looking for the true path. Her moral compass was impeccable and her intellect peerless. Her ear for the poetry, beauty and brilliance of African American language lifted us, reminding us that we are marvelous — anytime we open our mouths to speak.
Tayari Jones is a professor of creative writing at Emory University and the author of four novels, including “Leaving Atlanta” and “An American Marriage.”
Jacqueline Woodson
“Morrison had provided, through her characters, some of my earliest mirrors.”
I’m in Morocco and the emails, texts and WhatApps come at me: Toni Morrison has moved on to the next place. Weeks before, I’d spoken to some friends who’d told me that she was close to this transition, but a part of me thought, Aren’t we all? Isn’t each one of us living in this moment with all its madness, beauty and despair, knowing that at the end of this is death? Death and whatever we believe of what comes after.
And still …
What I know now — and have known for some time — is how fortunate I am to be walking through the world at this particular moment in time.
When I first read “The Bluest Eye,” I was a fifth- or sixth-grader. It was one of very few books on the shelves of our Brooklyn apartment. We could not afford shelves lined with books and depended on the neighborhood library for our weekly dose of new narratives. But the cover of my mother’s book had caught my eye — a photograph of a black woman dressed as a child and holding a white doll.
I despised this cover. And I was fascinated by it. A slow reader, I read through “The Bluest Eye” with my finger moving beneath the words. I remember being captivated by the story — so many people walking through it were like people walking through my own life. When I picked up the book again in high school, I would remember it as having a happy ending. I remembered Pecola Breedlove’s wish for blue eyes had come true and everyone lived happily ever after.
And for many months after reading “The Bluest Eye” for the second, third, fourth time, I was certain that Morrison had written two versions of the novel — one for children and one for adults. The adult version was stunningly heartbreaking. The children’s version — what was that? Something I could grasp parts of. Hold on to.
“The Bluest Eye” was an awakening for me. Already, I wanted to write. Already, I wanted to show and see representations of the people I loved on the page. Decades later, as an adult when I heard Rudine Sims Bishop talk about the importance of books being mirrors and windows for the reader, I’d realize that Morrison had provided, through her characters, some of my earliest mirrors. And windows. In the lives of the people she brought to the page, I began to see parts of myself in the world — reflected, legitimized, loved.
And so here I am now. Here we all are. Toni Morrison as light, as way, as ancestor. And the many writers she has left in her wake, and the many writers coming after, and those after them, will hopefully always know this: that because of her, we are.
Jacqueline Woodson, the author of “Harbor Me” and “Brown Girl Dreaming,” lives in Brooklyn.
Michele L. Norris
“I wanted to hear her voice. I wanted to swim in her laughter and lean into her deliberate silence.”
My heart went to her words, but my mind went straight to her voice.
Perhaps because I worked so long in radio, it was her voice that washed over me when the news flash rolled in announcing that Toni Morrison had joined the ancestors. Her voice was as measured and magisterial as the words she put on the page. It had the quality of music, in the way that an artist can take a single note from a single instrument and make it hang in the air like tendrils of cigar smoke, move it back and forth like an old porch swing or send it drifting toward the moon like an owl in flight.
I imagine that many people reached for her books in their moment of grief. I wanted to hear her voice. I wanted to swim in her laughter and lean into her deliberate silence — because she used silence as a kind of punctuation, pausing when she spoke to let her words sink in, long pauses to give you a moment to sop up her wisdom or perhaps in her own mind to say, “Mmm, that sounded good.”
Morrison’s speaking voice was low and feathery and playful, which is a bit of a conundrum because her writing voice cut like a knife — straight to the bone — examining the physical, spiritual and soul-crushing wounds of race and racial hatred.
I’ve interviewed Morrison several times and, though the books we discussed were always drenched in pain and heartbreak, the interviews felt like a visit to a juke joint. At a 2015 event, I asked her to begin our chat with a reading from a section of what was then her latest release, “God Help the Child.” She chose a passage that described her character Bride — a statuesque, dark-skinned woman dismissed as ugly by her parents and teachers and just about everyone else — as she discovers that she possesses a kind of magnetic power over men. A young Morrison had studied theater and you could hear the training as she danced through her prose. I looked out over the audience and several hundred people had their eyes closed in a trance. You could hear in Morrison’s voice how much she valued her own words. You could hear how much she valued black life.
I loved her voice, but I am most grateful for how she used it. She changed the publishing industry in the United States. That is not hyperbole. She was known as the “black editor” at Random House, and she wore the title like a badge of honor, using her perch to knock down doors previously closed to black writers. She edited Angela Davis, Chinua Achebe, Gayl Jones and Toni Cade Bambara.
She used that voice to encourage young writers and she challenged booksellers to stop placing even best-selling black authors in the black book section that was always — always — in some hard-to-find back corner of the store. And when she herself became a best-selling author, she used her voice to reject the notion that being a black writer was a subgenre of high literature. “Reject” is almost too soft a word. She was asked time and time again if she chafed at the term “black writer” or whether she would ever consider centering white characters in her work — and with a smile on her face, she flicked that off her shoulder, flung it to the floor and stomped on it with an elegant grace. “The inquiry comes from a position of being in the center and being used to being in the center and saying is it ever possible that you will enter the mainstream,” she once said.
She shot past the mainstream and elevated the highest levels of literature with her own language on her own terms. “I stood at the edge and claimed it as central,” she said. “Claimed it as central. And let the rest of the world move over to where I was.”
Michele L. Norris is a former host of NPR’s “All Things Considered” and the founding director of the Race Card Project.
Leah Wright Rigueur
“Once you’ve read her work, you cannot unread it or leave it behind.”
When I was 10 years old, I borrowed my mother’s copy of “The Bluest Eye.” I was a gluttonous reader, consuming every book I could get my hands on. But that’s not why I chose Toni Morrison’s book.
I had seen my mother, my aunts and their friends reading Morrison’s work. I listened silently, watching as they praised, argued and even gossiped over the layers and textures of Morrison’s words and stories. I wanted to be a part of that — not simply as a witness, but as part of their congregation, offering up my own testimony.
Reading Morrison’s words for the first time made my chest and my throat ache. It took me months to finish as I struggled to process the story. It was so different from anything I’d read. It was rawer, more precise and more cutting, but it was also so much freer. I couldn’t articulate it then (and even now, I struggle to do so), but I certainly could feel Morrison’s words. Her prose made me feel seen, visible. I could feel Morrison writing to me, about me, as she documented the rhythms of black girlhood and the fullness of black community in America, in all its joy and trauma. She loved black people so thickly that it pulsated through her prose.
[Toni Morrison taught me that I owe myself my whole self]
Once you’ve read her work, you cannot unread it or leave it behind. The ideas and lessons linger — sometimes as a caress, other times as a slap. I have birthed two children in my life, and each time, Morrison’s words from “Beloved” emerged instinctively to haunt and comfort me: “Love is or it ain’t. Thin love ain’t no love at all.”
When I was a graduate student at Princeton University in the early 2000s, one of my most potent memories is of sitting in on Cornel West and Eddie Glaude’s class on the black intellectual tradition; on this day, our guests were Morrison, the actress Phylicia Rashad and Jay-Z (Shawn Carter). Turning to Carter, West asked the rapper to comment on his musical catalogue, his lyrics and race in America. Jay-Z vigorously shook his head, laughed and responded: “Why should I talk when Toni Morrison is here? She’s the one who taught me. I need to learn from her.” The room broke out in laughter born from a shared understanding that Morrison was our translator, our teacher, our literary great, our canon.
Long before I became a professional historian, Morrison put me through a masterclass in doing history imaginatively, reassuring me that the careful excavation of stories that unapologetically center black life and community was, and still is, a revolutionary act, especially for a black woman in America. “I write what I have recently begun to call village literature,” she once noted. “Fiction that is really for the village, for the tribe. … I think long and carefully about what my novels ought to do. They should clarify the roles that have become obscured; they ought to identify those things in the past that are useful and those things that are not; and they ought to give nourishment.” Morrison told us to explore that which is foreign, and to wrestle with both the beautiful and the horrifying parts of blackness, and to do it with clarity, love and empathy. She constantly reminded us that writing us “whole,” in all our intricacies and silences, was a necessary part of freedom. She leaves a legacy of limitless possibility, for our community, our liberation and for us: “The vitality of language lies in its ability to limn the actual, imagined and possible lives of its speakers, readers, writers.”
Leah Wright Rigueur teaches 20th-century American history and politics at Harvard University.
Diana Ejaita is an illustrator and textile designer based in Berlin.

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