I am an award-winning freelance journalist based in Brooklyn (formerly based in Providence, R.I.) and and an MFA student in creative nonfiction at the New School. This is not a blog, but rather a collection of some of my work.

My favorite stories are about people: people who do unlikely or awe-inspiring things, people with dreams and visions and singular voices, people and communities whose voices are marginalized or forgotten by the popular press. I have a special interest in the criminal justice system and health care for the underserved and disenfranchised, particularly HIV/AIDS. (Before I became a journalist, I worked as an outreach worker and research assistant at an HIV clinic.) I also write news and book reviews, and have been known to write enthusiastically about books, beer, old houses, music, and politics.

Lately I've slowed down my professional output to focus on my thesis, a book-length work of narrative journalism about hepatitis C and addiction. It should be finished over the summer, at which point I'll turn my attention back to newspapers, magazines, and (hopefully) teaching.

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Showing posts with label Brown Alumni Magazine. Show all posts
Showing posts with label Brown Alumni Magazine. Show all posts

Brown Alumni Magazine>A Nation of Jailers


A Nation of Jailers


Economics professor Glenn Loury is speaking out about what he believes is one of the nation’s gravest injustices: despite falling crime rates, the number of black men sent to prison continues to rise. It's the latest cause for a man whose work has taken him from liberal to conservative and back again.

By Beth Schwartzapfel
April 2008

Standing in front of a room full of people, Glenn Loury stumbled. It was a rhetorical stumble, not a physical one. It came near the beginning of the first of two Tanner Lectures on Human Values he delivered at Stanford last April: "As it happens," he said, "I have passed through—" he paused briefly, taking a deep breath, "the courtroom, and the jailhouse, on my way to this distinguished podium.

Then he paused again, longer this time, collecting himself before reading the rest of the lecture. Later he recalled the moment: "It was harder for me to say than I realized it was going to be when I wrote it down on the page."

For Loury, the lectures marked an important moment on the long and ongoing trajectory that has joined his lived experience to his scholarship and his politics. Titled "Racial Stigma, Mass Incarceration, and American Values," the lectures brimmed with both moral passion and rigorous analytical scholarship, a combination that has become something of a trademark for him. The lectures asserted that the number of black men incarcerated in U.S. prisons and jails—a number wildly disproportionate to their representation in the general population—reflects the social dishonor to which African Americans are still subject today, a dishonor with roots in U.S. slavery.

"We are becoming a nation of jailers, and racist jailers at that," Loury said later in the lecture. "We must ask, in light of our history, whether this is the nation we want to be. And, deciding not, we must then try to do something about it."

Loury has indeed committed himself to doing something about it. In addition to lecturing and writing on the issue, he appeared last year before a U.S. Congressional committee examining the economic costs of the surge in the nation's prison population. The issue has propelled Loury back into the role of public intellectual, a role he has flirted with through much of his career. As an economist, his work is to crunch numbers, but what the numbers have revealed to him has triggered his moral outrage. Loury makes no apologies for his attempts to "reach beyond science and, within the limits of my abilities, to address deeper questions." Unlike many of his academic colleagues, who after earning their PhDs obtain stable professorships and address their peers in scholarly journals, Loury's journey to Brown and the issue of prisons has taken unlikely twists and turns. It has involved not just the courthouse and the jailhouse, but years as a conservative pundit. It has included a religious rebirth followed by a repudiation of that religion, and now has brought him to the far left of the political spectrum.


The oldest of two children, Glenn Cartman Loury grew up on Chicago's South Side in the 1950s and 60s. Although the neighborhood was rough, Loury's family was comfortable enough. His father was a high-level administrator with the Internal Revenue Service and his mother a secretary with the Veterans Administration. He had cousins who were doctors and lawyers but, he recalls, he also had relatives and neighbors caught up in illegal activity.

The sociologist Elijah Anderson has described two broad categories of social orientation in inner cities: "decent families," who tend to be working poor (rather than unemployed) and who value self-reliance, hard work, education, and church; and "street families," who turn to lawlessness to make ends meet and violence to settle conflicts. Loury's family had a little of both, sometimes in a single person. "I'm talking about my uncle Mooney," Loury says. "He was a legitimate small businessman but also sold marijuana out the back of his barbershop, routinely. I'm talking about my great Aunt Candy, and Aunt Rosetta, who fenced stolen goods as a regular course of events. They had young women who were shoplifting clothing and foodstuffs from retailers, and they would get twenty cents or thirty cents on the dollar from my aunts, who then had big freezers in the basement. So that whenever you wanted to have a family thing, you knew that you didn't go and buy your ham and your turkey from the Stop & Shop. You went to Aunt Candy or Aunt Rosetta." When Loury gets excited telling these family stories, his voice clicks up a register or two. "These are church ladies with big hats!" he says. "They were salt of the earth, these people! But that's what they did."

One's racial identity was of primary importance in Chicago during that period. White flight had turned many of the city's neighborhoods into African American enclaves, and the civil rights and black power movements had fired up black youth, Loury included. In the prologue to his 1995 book of essays, One by One from the Inside Out, Loury tells a moving story about attending "one of those heated, earnest political rallies so typical of the period" with a longtime friend and neighbor, Woody. With two mixed-race parents, Woody looked white, but growing up in a black neighborhood with black friends, he identified as a "brother." When at the rally Woody raised his hand with a suggestion, Loury recalls that "one of the dashiki-clad brothers-in-charge" asked for someone in the audience to "vouch for this white boy." Eighteen-year-old Loury, fearing that "speaking up for Woody would have marked me as a disloyal 'Tom' among the blacker-than-thou crowd," said nothing. Years later, still cringing at his disloyalty, Loury continues to struggle with the issue of what it means to be "authentically black."

Even as his political approach to "the race problem" has veered sharply from left to right to center and back to the left again, Loury's foundational belief has remained consistent. He has always held that race is a "socially constructed mode of human categorization," as he wrote in his 2002 book, The Anatomy of Racial Inequality. The key intellectual innovation in this most recent of his books is the concept of "racial stigma," which he explains this way: "If we believe that people of a different look and hue and shape of face and such are different from us, and we act on that belief, we can create dynamics that make that a fact. Moreover, if we are unaware of how some of these influences bias and influence our conceptions in society, then we can draw conclusions and be very comfortable and set in those conclusions without interrogating them."

A heavyset man of fifty-nine, Loury sports a graying goatee and a presence that, although guarded at first, quickly softens. In conversation, he ranges from the formalized diction of the lecture hall to the chatty, easy way of a friend. He is unwilling to dumb down his opinions or his way of speaking. This has the effect of making people around him strive to be sharper, more well-read, quicker on their toes. He can be cocky, though not obnoxiously so, and his discourse is peppered with the names of his friends in high places.

Loury was an exceptionally bright student in high school, and, after graduating at age sixteen, he entered the Illinois Institute of Technology. But after his girlfriend—whom he later married—gave birth to their daughters, Lisa and then Tammy, Loury dropped out and took at job at a local printing plant. He continued to take night classes at a local junior college. (He also fathered a son, Alden, with another woman around this time.) Soon he had secured a scholarship to Northwestern, where once again he demonstrated great promise, particularly in mathematics and economics. In 1972, divorced from his first wife, he arrived at MIT and quickly became one of the top students in one of the top economics departments in the world.

Loury's 1976 PhD dissertation, "Essays in the Theory of the Distribution of Income," was a rigorous economics-based examination of why, years after the passage of the Civil Rights Act, blacks still weren't getting ahead. He put forth a theory of "social capital," asserting that who a person knows—the informal networks and connections that can give one a leg up at everything from jobs to housing—matters at least as much as a person's intelligence or hard work. African Americans had few, if any, such networks. This view of racism as far beyond the simple fix of antidiscrimination laws and perpetuated by an ongoing, self-fulfilling social cycle, has since become one of the hallmarks of the American left and a frequent justification for affirmative action.

Over the next decade, however, Loury's thinking turned right and made him one of affirmative action's most outspoken black critics. He wrote essays and op-eds with such titles as "Beyond Civil Rights" and "Blacks Must Now Fight the Enemy Within," arguing that placing blame for the African American community's problems solely on white America was incorrect and counterproductive. "The bottom stratum of the black community," he wrote in a 1984 article in The New Republic, "has compelling problems which can no longer be blamed solely on white racism, and which force us to confront fundamental failures in black society. The societal disorganization among poor blacks, the lagging academic performance of black students, the disturbingly high rate of black-on-black crime, and the alarming increase in early unwed pregnancies among blacks now loom as the primary obstacles to progress." Personal responsibility became his mantra. Black folks, he said, needed to quit the blame game.

By 1982, when Loury, at age thirty-three, became the first tenured black professor in the Harvard economics department, he had gained a reputation as a brilliant, if ornery, iconoclast. He'd alienated such black leaders as Coretta Scott King and Jesse Jackson with his disdain for what he saw as their outdated approach to problems in the African American community. His intellectual allies were such conservatives as William Kristol and James Q. Wilson, who had the ear of the Reagan administration. By now, Loury was speaking publicly and vociferously against affirmative action. ("By what calculus of fairness can those claiming to be fighting for justice argue that outstanding white students ... should be denied the opportunity for ... education so that minority students who are not prepared for it may nonetheless enroll?" he wrote in "Beyond Civil Rights.") And even as old friends and family back home in Chicago were increasingly disappointed with what they saw as Loury's selling out, he says, "The answer I would give to that was, 'I'm a free thinker, and I go where the ideas lead me, and I'm sorry to disappoint you but I gotta speak the truth.' "

He resented the idea that he need hew to a party line because of his race. "I felt a little bit martyred," he recalls, "because, you know, these people gonna drop a ton of bricks on me just because I have the integrity to say what I think is correct? Because I'm black and I'm at Harvard I'm supposed to be part of some imaginary team that you people are constructing out there to help the race—quote-unquote? So now I've got a chip on my shoulder. You expect me to say something that is beyond the pale. In a way, I need to live up to that expectation. That's now my role. My role is to upset you."

In 1987, Loury's room in what he calls "the house that Reagan built" seemed secured when U.S. Secretary of Education William Bennett offered him a position as under-secretary.


Meanwhile, thanks to President Reagan's War on Drugs and the generation of tough-on-crime policies that followed, Americans in general, and black men in particular, began going to prison in increasingly large numbers. "Two decades ago, it is fair to say, America faced a violent crime problem," Loury said in his Tanner Lectures. "This was a time when drive-by shootings and drug-deals-gone-violently-bad were common fare on local news, when the War on Drugs was taken to a new level, and 'gangsta' rap was born."

But, Loury now believes, like the drug use the incarceration boom was supposed to lessen, incarceration itself became an addiction. Once the United States began turning to lockup as the solution for a growing list of what had previously been considered social, not criminal, ills, it couldn't stop. Between 1980 and 1990, the number of people in U.S. prisons more than doubled. Although the rate of violent crime peaked in the early 1990s and has been declining ever since, between 1990 and 2000, incarceration rates nearly doubled again. Today, at least 1.6 million people are incarcerated in U.S. prisons. Include people on probation and parole, and the number jumps to more than seven million. According to a recent report from the Pew Center on the States, one of every 100 adults in the United States is behind bars—the highest incarceration rate in the world. As Loury points out in his Tanner lectures, Americans account for 5 percent of the world's population and 25 percent of its inmates.

"Today, fifteen years after crime peaked, the American prison system has become a leviathan unmatched in human history," he said. "Never has a supposedly 'free country' denied basic liberty to so many of its citizens."

The impact on communities of color has been enormous. According to U.S. Department of Justice figures, a black man has a 32 percent chance of entering state or federal prison during his lifetime. If current incarceration rates continue, one of every three black male babies born today will see the inside of a prison cell, a rate more than five times higher than that of white male babies. In many inner-city neighborhoods, a stint in prison is as much a rite of passage as graduation from high school. The effects of these incarcerations are not confined to the prison walls. More than half of state and federal inmates are parents of minor children; according to DOJ, black children are nearly nine times more likely than white children to have a parent in prison. Finding work for any person with a criminal conviction is already a challenge; for an African-American, that challenge can be almost insurmountable.

Prisoner statistics, Loury said in his Tanner lectures, tell only part of the story:

[N]o cost-benefit analysis of our world-historic prison build-up over the past thirty-five years is possible without specifying how one should reckon in the calculation the pain being imposed on the persons imprisoned, their families and their communities. How to value this aspect of policy is, to my mind, a salient ethical issue. Punishment politics, it seems to me, invariably discounts the humanity of the thieves, drug sellers, prostitutes, rapists and, yes, of those whom we unceremoniously put to death. It should be clear that social science has no answers for the question of what weight to put on a "thug's" wellbeing, or on that of his wife or his daughter and son. Nor can Science tell us how much additional cost borne by the offending class can be justified in order to obtain a given increment in security of life and property—or in peace of mind—for the rest of us.

When Loury says "the rest of us," he includes himself in his audience of well-off academic peers. He is in a stable marriage to his second wife, Linda, with whom he is raising two teenage boys in an affluent Boston suburb. Yet in the same passage Loury points out that by virtue of his race, he is "knitted together with offenders in networks of social and psychic affliction." His admission to his audience at the start of the lecture that he had once been behind bars echoes powerfully. In a sense, he is siding with the "thug."

"This was a big deal," says Josh Cohen, a professor of political science and philosophy at Stanford and a friend of Loury. "To be doing these lectures and to be stepping outside of his usual responsibility as an economist to be talking about issues of political morality: it wasn't like there was some bold new moral idea in the lectures, but that's usually not the way moral thinking works. You get yourself worked up about a problem. Then you try to bring it to bear."


Throughout the 1980s, as Loury's professional influence grew, his personal life fell to pieces. By day, he lectured at Harvard alongside some of the top minds in economics and political science; by night, he ventured into housing projects and strip clubs, freebasing cocaine and picking up women. Even as he preached about personal responsibility, he frequented crack houses and nightclubs, where he was not a Harvard professor but just another brother, out looking for a good time.

"I knew how to talk and how to walk, not to seem an obvious mark in such a community so that I would get robbed," he says now. "I wore that as a secret badge of honor. It made me, in some way or another—nutty, nutty, I can't defend this—more authentically black somehow. This is sick, I would say in retrospect. But I believe it's an accurate reflection of what I actually thought in the back of my mind in those years."

Three months after he was offered the position in the Reagan education department, he withdrew his nomination, citing "personal reasons." Days later, a twenty-three-year-old woman named Pamela Foster brought assault charges against him. She was, it turned out, his mistress, living at his expense in a Boston apartment. Although the charges were eventually dropped, she accused Loury of dragging her down a flight of stairs and throwing her belongings out the window. Local newspapers had a field day. Here was a conservative unable to live up to his own gospel of personal responsibility.

"At the time, I guess the way I'd construe it was: what I'm saying is correct," he says now. "Whether I'm doing what's right is another matter. People should take better care of themselves. They should take care of their children, they should be responsible. If I fall short of that, well, there you are."

Loury's problems were far from over. His drug use continued to spiral out of control. His marriage was at its breaking point. Then, towards the end of the year, he was arrested for possession of marijuana and cocaine. Shortly after the scandal with Pamela Foster surfaced, Loury recalls, he remarked to his friend, the evangelical Catholic priest (Loury calls him a "theo-con") Richard Neuhaus, that Martin Luther King and John Kennedy also had mistresses. "If he could have slapped me, he would have," Loury says now. "But he gave me the stern reproach look, the equivalent of a slap in the face. And he said, 'It was a terrible flaw in King. It seriously compromised his effectiveness. And it's a flaw in you as well.'"

A judge agreed to drop the drug charges in exchange for Loury's entering rehab. He emerged, after several months, a changed man.

He was still conservative, but, as one old friend told the Boston Globe, he was a "sensitive conservative." He was also a born-again Christian. He and his wife, Linda, who shortly after Loury returned home from rehab gave birth to their son Glenn Jr., joined the Bethel AME Church. The couple's second son, Nehemiah, named after the Old Testament figure, was born three years later. The church's pastors, civic leaders in Boston, helped the Lourys rebuild their family. "They saved my life," says Loury. "Our children were born into this church. Our marriage was saved there."

In 1991, Loury left Harvard over the protests of his colleagues and joined the faculty at Boston University for a fresh start. Over the following decade, he tried—unsuccessfully, he now says—to straddle the line between his old commitment to conservatism and personal responsibility and his growing awareness of the structural issues preventing black people from achieving full integration in every aspect of American society.

His 1995 book, One by One from the Inside Out: Essays and Reviews on Race and Responsibility in America, was an attempt to delineate this new, softer position. It contains an essay called "Leadership Failure and the Loyalty Trap," in which he returns to his old frustrations about the "loyalty" that blacks supposedly owe to a particular political ideology. He indicts the black community for, among other things, having "made excuses for and sometimes even glorified the supposedly rebellious actions of thugs" and having made "apologies for the able-bodied, healthy, and intelligent young men who gather children and then walk away from the responsibility to support them."

At the same time, the book is humbler than his previous work, steeped as it is in his new religious beliefs. Its epilogue reads like a searching and personal confession. It also closes with a scathing review of the controversial 1994 book The Bell Curve, which asserts, in part, that a sizable proportion of America's (black) citizenry is simply not smart enough to grasp the nuance of anything less than a hard line on crime and parenthood, among other social ills.

The Bell Curve was one of a series of books published around that time by former friends and colleagues whose approaches to race made Loury increasingly uncomfortable. In 1995 Dinesh D'Souza published The End of Racism, in which he argued, among other things, that slavery was not a racist institution, and that the only reason racism continued to be a problem in the United States is because of such "racist" programs as multiculturalism and affirmative action. Crime and Human Nature, published in 1998 by James Q. Wilson (with whom Loury had, in 1987, co-edited a book) and Richard J. Hernnstein, argued that crime was caused by biological determinants, and that zero-tolerance policing with less emphasis on rehabilitation was the only answer. In 1999 Loury's old friends Abigail and Stephan Thernstrom cheerfully announced, in America in Black and White, that African Americans were doing just fine—better than ever, in fact—and that we should not impede their progress with such wrongheaded programs as affirmative action.

Loury began to speak out against such thinking, at first quietly, and then more forcefully, prompted in part by the chilly reception he received from conservatives for his critiques of their ideas on race. Commentary magazine, whose pages had contained many of his words over the years, refused to run his review of the The Bell Curve. The American Enterprise Institute, with which he'd long been affiliated, refused to repudiate D'Souza, who had written his book while he was a fellow there. Loury resigned in protest.

He also began to take himself to task for all the years he had provided political cover for what he was beginning to construe as thinly veiled racism among his colleagues. At a 1990 conference called Second Thoughts on Race, organized by the neoconservative David Horowitz, he gave a presentation in which he said that his agreement with conservatives on affirmative action "helps you to see your [position] as valid and nonracist. If by some magic I were suddenly to become white, my brilliant, perceptive, and courageous insights would just as suddenly be reduced to pedestrian, commonplace complaints, of little political or personal comfort to you."

Finally, in 1996, Loury reached a turning point. He and his old friend, fellow black conservative Shelby Steele, were assembling donors and board members for their new organization, the Center for New Black Leadership. California's Proposition 209, which proposed an amendment to the state's constitution prohibiting public institutions from considering race, sex, or ethnicity in admissions or hiring decisions, had just been placed on the ballot. The Center's funders wanted Loury and Steele to come out in support of the measure. It should have been a no-brainer. Here was perhaps the most central issue of the era for both conservatives and African Americans, an issue that Loury had not minced words in criticizing over the years. "What is our brand, as black conservatives, if it's not that?" Loury recalls Steele asking him. But he found that he couldn't do it.

"What I said was, 'I'm against affirmative action, but this is over the top.' I tried to split the difference, which was a mistake," he now says. "I was for affirmative action, is what I should have been able to say, but I couldn't quite make myself say it." Instead, he resigned.

It was also around this time that Loury repudiated his religious beliefs. He had many long, searching conversations about his growing doubt with his Christian mentors and friends. He found it increasingly difficult to reconcile his religious beliefs with his faith in rationality and science. But the breaking point came with the death of a bright young woman who had worked as an administrative assistant in his office at Boston University. It had taken her into her thirties to finish college, and she was now pursuing her dream to go to law school. She'd had a wildly successful first year at BU's law school and had made law review when she died, suddenly, of a freak heart infection.

"I'm devastated by the tragedy of this young woman's death," Loury says, describing his feelings at the time. "Don't tell me that this is God's work and he knows better than me. You're just fooling yourself. You're afraid to look down in the abyss." He is still haunted by the image of the young woman's mother, at the funeral, smiling because God must have loved her daughter so much to take her away. "And basically I haven't been back to church since. There was no going back from that."

These days, Loury has found his footing to the left of center. He has repudiated many of his own former positions on public policy, but the core of his beliefs, he insists, was not wrong. It simply lacked context.

"I'm not eschewing personal responsibility," he says. "I don't want to say, a kid goes out and commits a crime, it's society's fault, it's not the kid's fault. The core of the error was a failure to give an appropriate weighting to the communal responsibilities of developing and sustaining a cultural milieu that's supportive of human development. I was loading way too much weight on this autonomous communal capacity—self help and so forth—vis-√†-vis questions like, What's the IRS doing? What are the police doing? How are cities and states organized? And what role does race play within that?"

Loury knows that his changes in position harm his credibility with some peers. Others, however, see his intellectual journey as evidence of his honesty. Economist and former Princeton president William Bowen has been one of Loury's friends and mentors. (Loury wrote the introduction to Bowen's most recent book, The Shape of the River, a defense of affirmative action in higher education.) "When people would accuse Gandhi of being inconsistent," Bowen says, "Gandhi would reply, 'my goal has never been to be consistent with myself from year to year, but to be consistent to the truth as it appears to me.' Really capable people think like that. That takes courage, and I admire it."

Loury arrived at Brown in 2005, after a falling-out with BU's president over funding for his Institute on Race and Social Division. He has thrown himself into the life of the University, serving on the Advisory Committee on Slavery and Justice, instituting a seminar series on race and inequality, and publishing several papers in both economics journals and the popular press. "He is a combination of someone who is an incredible theorist—who can think in terms of economic models in a sophisticated way—but who fundamentally cares about the most important issues of the day," says Andrew Foster, chairman of the economics department. "He's also clearly stimulating research in this area among grad students."

Given his complicated history, Loury has been an easy target for armchair psychoanalysis. A 1995 New Yorker profile speculated that he had turned away from some of his earlier hard-line stances because he was lonely; as a black conservative he didn't really "fit" anywhere. A longtime friend and colleague, Harvard sociologist Orlando Patterson, was quoted in a 2002 New York Times profile as saying that Loury was "overcompensating" by listening to gangsta rap. And yet, even as his most recent crusade is deeply personal in some ways, he remains a consummate social scientist in others, and resents any implication that he is speaking out against racial inequality in mass incarceration as a way to assuage guilt or do penance for his former views.

Josh Cohen, the Stanford professor, recalls an incident during a series of seminars associated with the Tanner lectures. A politically progressive friend of Loury's made a joke about how Loury hadn't moved far enough to the left yet. "He used some sort of therapeutic vocabulary, like 'his treatment isn't quite done yet,'" Cohen recalls. "Glenn responded badly to that, and I agreed with him. He was saying, 'This is a matter of intellectual convictions. We're in this business of argument and analysis. It's really misguided to put this in the language of therapy and cure. It's about changing your mind. About being changed by reason.'"

Brown Alumni Magazine>Lady of the River





Lady of the River

As cofounder and president of Mad River Canoe, Kay Henry ’67 manufactured some of the most innovative canoes of the past generation. Now retired, she’s dedicated herself to saving the rivers that inspired them.

by Beth Schwartzapfel
September/October 2007


The morning dawned foggy over Vermont.

Kay Henry ‘67, just back from a three-week canoeing trip in the canyons of the American Southwest, pulled up with a Mad River canoe strapped upside down to the roof of her Audi. Her blonde hair fell to her ears in a tousled center part, and she wore sunglasses, sandals, and lightweight khaki pants. A spunky woman who seems at least a decade younger than her sixty years, Henry has a chatty, easy way about her. Her stories and demeanor seem to convey that every day is an adventure—today perhaps more so for me than for her. I’d never been canoeing before and didn’t know what to expect. We headed north from Burlington on Interstate 89 toward Swanton, where the Missisquoi River meets Lake Champlain and where great blue herons build their summer homes high in the treetops.

By the time we untethered Henry’s canoe and plunked it into the river with a splash, the sun was shining, the day was warm, and the sky was blue and clear. Henry showed me how to paddle—“Short, choppy little strokes,” she said. “Ka-chunk, ka-chunk”—and we were off. The water was a calm blue-gray, and the paddling motion felt natural and easy. The canoe was lighter than it looked. “This is a seventeen-footer, and it’s good for ease of paddling,” Henry explained. “And that’s really what Mads are known for, being stable yet easy to paddle.” She should know. She and her first husband, Jim Henry, founded Mad River Canoe in 1970. Henry ran the company continuously until 1998, when she retired from the business and turned her attention to the river.

Since then, Henry has been working to create and maintain part of the Northern Forest Canoe Trail, a 740-mile water trail that connects Maine, Vermont, New Hampshire, Quebec, and New York state—including this stretch of the Missisquoi—by using historic Native American trading and transport routes. Henry and her second husband, Rob Center, adopted the Trail project and have transformed it from what it had been—scribbled pages of research in the imaginations of a handful of paddlers—to a 700-member nonprofit organization with two paid staff members and a $250,000 budget, all aimed at creating a contiguously mapped waterway complete with campsites, portage routes, trail signs, and access points.

Today was the start of the second season since the Trail had officially opened. Already two Bates College students were completing the Trail’s fourth-ever through-paddle: beginning in New York, they were canoeing their way to the end of the trail in Maine, blogging as they went. (This week’s entry: “Sun! Downstream! Maine!”) Part of the beauty of the trail is that it runs through so many different water bodies and landscapes. The routes range from slow-moving rivers like the Missisquoi, to wide-open lakes, to class IV rapids. The Trail also connects communities to one another, allowing paddlers to assemble a patchwork trip, sleeping out with a tent and a campfire one night, staying in a bed-and-breakfast the next. Some towns along the route, like Saranac Lake in New York’s Adirondack Region, are established tourist destinations; outfitters there are practiced at renting canoes and kayaks to visitors, trucking them to their put-in point and picking them up days later at a predetermined spot, sunned and sore and ready for home. Other towns have long been cut off from the tourist economy—their livelihoods departed with the timber companies—and the Trail provides an opportunity to re-invent themselves as destinations for paddlers. “For many years, the river was a sewer,” says Henry. “You didn’t even paint the buildings on the river side because no one saw it. It’s kind of fun to have these communities look at the river as a resource again.”

Henry’s passion for canoes and rivers began shortly after her graduation from Brown. Armed with a degree in geology, she worked at an oceanography lab on the Hudson River for three years before she and her then-husband, Jim, concluded that they “were really not New York people.” They found new jobs at the Woods Hole Oceanographic Institute on Cape Cod, but before beginning work there they loaded up a Volkswagen bus and headed west for a six-month road trip. Although camping was relatively new to her, “we basically lived outdoors” during that trip, says Henry. “I thought, ‘This is fun. I’d like to do more of this.’ ” Strapped to the top of the VW bus was a canoe that Jim had designed. He’d taken a book from the library about native North American bark-and-skin boats and, for fun, had built a mold out of plaster, then had it cast in fiberglass.

When the couple returned east from their trip, they learned that their jobs had fallen through. With nothing better to do, Jim took his boat and raced it in the national championship, held that year on the Dead River in Maine, and won. Word got out about Jim’s winning canoe, and people started asking him to build a similar canoe for them. The Henrys moved into their ski house in Waitsfield, Vermont, and Jim started building boats in the garage. Henry, always a numbers person, took over the business end of the fledgling company while her husband continued to design canoes. Soon, Mad River Canoe had a building in downtown Waitsfield, more than eighty employees, and 200 dealers selling a line of more than twenty canoes—“Everything from little twelve-foot solo canoes to big eighteen-and-a-half-foot racing boats,” Henry says. The company had also made a name for itself as a manufacturer of quality high-end boats and as an innovator in the outdoor industry.

One of the major innovations that Mad River introduced, for example, came about in the early 1970s when the Henrys approached the DuPont Company to see about constructing canoes out of a new material that DuPont had been using to make tires—it was durable and strong and lightweight, but had never before been used to make sporting goods. Mad River introduced the first Kevlar canoe in 1974. “That was before it was even called Kevlar,” Henry says. “Now it’s in golf clubs, skis, everything.”

After the Henrys divorced in the mid-1980s, Kay bought out Jim’s share of the company, and as the female president of a sporting goods company—“a hard-goods company, not clothing,” Henry points out—she became something of a pioneer. “I was the Lone Ranger,” she says. “You had to prove your credibility.” It helped, Henry says, that she was “fairly financial. People think a woman doesn’t know numbers. That was an important strength.” In fact, Henry started out as a math major at Brown, but switched to geology because it was a “really good and fun and logical” department. She says that the most important thing she learned at Brown was not necessarily specific information but the skill of “learning how to get information.”

Another aspect of her business success, says Henry, is that she is a fierce competitor who’s sure of her own smarts and savvy. With any project, she says, “I expect to build something better than others do, and I don’t usually stop until I feel I have achieved a good portion of that.” (The Mad River logo—a smoking rabbit—represents self-confidence and, let’s be honest, a little cockiness. It comes from a Native American legend that envisions a rabbit so sure of his own speed that he can sit in the bushes, smoking his pipe, even as his mortal enemy, the lynx, lurks nearby.) Henry’s leadership style was to be clear about the company’s overall vision and direction, and then hire talented people who were passionate about the outdoors and whom she could set loose from there. She encouraged teamwork among her staff and let them try out some pretty crazy ideas, even launching, for a short time, Mad River Canoe paddling tours. The company was committed to “making this a lifestyle instead of just a manufacturer,” recalls Kay’s husband, Rob Center, who served for many years as vice president of marketing and sales. “Kay always believed that we’d sell the product if we sold the sport.”

She certainly believed in the sport. There was the time when she and Jim took their son and daughter, aged seven and nine at the time, on a three-week canoeing trip in the Yukon. “It was really great until it snowed two inches,” she recalls with a laugh. “We were miles from our scheduled pickup point. That’s when I learned to handle a canoe: when I had a child in the bow who didn’t want to leave his sleeping bag.”

In 1989, Henry and Center traveled to Finland to launch the Mad River brand there. The local distributor asked if she and Rob would join them in the weeklong, 350-mile annual Arctic Canoe Race, which runs from above the Arctic Circle clear through Scandinavia to the Gulf of Bothnia. Not knowing quite what they were getting themselves into, but having been in enough canoe races to be willing to take a chance, they agreed. “They woke you up at 1 o’clock to get you ready for a 3 a.m. start,” she recalls with a laugh. “You’re above the Arctic Circle so it’s light all the time. We finished that first night at 7 p.m.” The race featured Class IV rapids, twenty-foot waves, and one spot where they actually had to get out and swim. Dinner was reindeer. “We had seven nights of reindeer. And all you wanted was pasta!” The couple took first place in their class.

It was ultimately Henry’s love for the outdoors that drove her to sell the company, in 1998, to a private equity firm. “Suddenly it got to be really discouraging,” says Henry. “You couldn’t take a summer vacation because you spent the summer planning for the new line. That was getting to me. You weren’t as close to the product anymore as the company got bigger. Now it’s fun to have the freedom to get involved in issues you want to get involved in.”

Since selling Mad River, Henry and Center have hiked and paddled all over the world. Several years ago they went to Tanzania to climb Mount Kilimanjaro (like most experienced outdoorsmen, Henry refers to it affectionately as “Kili”); last year they traveled to Bhutan, where they trekked through the Himalayas. They stash a number of canoes in the tiny town of Norman Wells, on the MacKenzie River, in the Canadian Arctic, and take a three-week trip from there each year, paddling various rivers in the barren lands. A pilot flies them out with a boat and a GPS, and they arrange to meet again at a set latitude and longitude, on a set day. “You really do have to be prepared,” says Henry. “And you have to be self-reliant. That’s one of the things that I love about being out in a boat: you’re on your own. And that’s a feeling we don’t have very often in this world of cell phones. Cell phones don’t work up there.” Last year, on the Hornaday River, they were rewarded for pitching themselves headlong into the wilderness when they paddled through a herd of caribou that had just calved: moms and babies, fuzzy and weak-legged, nosing around in the snow. And Kay Henry, as always, on the river.

Canoeing, as it turns out, is as much about seeing the natural world from another point of view as it is about actually paddling a boat. At least, on this day it was. Henry explained that on trips through rapids and other tricky terrain, she “reads the water” from the stern, taking the long view to follow the fastest current and chart a safe path for the boat, while from the bow, Rob is the quick strength, making practiced pry strokes, draw strokes and cross-draws to navigate around rocks and other obstacles. For my beginner trip, however, we meandered and splashed, the paddles periodically making a pleasant clunk on the hull as birds called out raucously. We paddled past several floating logs where knots of turtles lay sunning, small and flat and green-brown; they flopped noisily into the water as we went by. Henry pointed out the herons among the birds that flew overhead, explaining that their wing beats are slower. We circled a beaver dam, glided past floating ducks, and saw cardinals, woodpeckers, and red-winged blackbirds, whose small black bodies were easy to miss until they exploded into the air in a flurry of red. We watched an osprey dive into the water and emerge with a fish in its gullet.

An avid backpacker, I looked down at my small but admittedly overstuffed day pack—for my first paddle, I’d neurotically packed everything from rain gear to a sweatshirt to a tuna sandwich—and it occurred to me that it’s much easier to toss a pack into the hull of a boat and paddle it than to strap it onto one’s back and walk. “That’s really what the Indians found out,” Henry said, “and that’s why they used these rivers as their highways. You can put a lot of stuff in a canoe.”

In the late 1990s, three paddlers and amateur historians named Mike Krepner, Ron Canter, and Randy Mardres set out to make a map of those ancient highways, and researched which routes the various North American tribes had used to move armies, to transport goods, and to hunt. Looking to promote their project, the men approached Mad River Canoe, whose catalog was as much “a storybook of what you could do, where you could go, with our products,” says Henry, as it was a vehicle for slinging boats. Calling the route Native Trails, one of the last catalogs the company published before Henry retired detailed a contiguous canoeing route through New England, modeled after the routes the Native Americans used.

And that would have been the end of it, until Henry and Center retired and were kicking around for a project. They called Krepner to see what had happened with Native Trails. “At first we thought, we can go raise money for them. We’ll help them,” Henry says. Then they realized that the project was still very much just an idea, a hobby, and that if it was going to go anywhere, they would need to bring the full force of their expertise, connections, and outdoor industry know-how to bear. They got the nod from Krepner, Canter, and Mardres, raised some money from their former colleagues at Timberland, L.L. Bean, REI, Thule, Old Town, and Eagle Creek, among others, and set to work.

Rechristening the project the Northern Forest Canoe Trail, they worked with private landowners, including timber companies, to arrange for portage sites, where paddlers must carry their canoes from one body of water to the next. They worked with congressional delegations, raising $250,000 in federal funds. They published thirteen different waterproof maps of the various sections of the trail. And they identified the “firecracker,” in Henry’s words—the mover and shaker, the visionary—in each small town along the route, to help plan itineraries and make a long-term plan for tourism. On June 3, 2006—National Trails Day—the Trail was officially opened, with an event held simultaneously in four states, in pouring rain.

“The Northern Forest Canoe Trail started as a wonderful vision and has become a reality, thanks in large part to the efforts of Kay Henry,” says Vermont Senator Patrick Leahy, who helped Henry and Center secure federal funding. “Kay has exemplified a gracious persistence when seeking support for the Trail from the National Park Service, and that persistence has been complemented by a sincere understanding of and sensitivity to the local residents, partners, and communities along the route.” Coming up is a guidebook, which will provide a written narrative of the entire trail. Farther off, Henry envisions local state-based chapters to take responsibility for stewardship of their portion of the Trail.

One of Henry’s favorite words is “fun.” It’s a word that others might imbue with at least one part irony (as in, “We dropped our maps in the river and had no idea where we were. That was fun.”). But Henry almost always means it sincerely. It’s as if she’s taken the motto made famous by fellow Vermonters Ben and Jerry—“If it’s not fun, why do it?”—to heart and carried it with her to all her undertakings. Speaking of her time at Mad River, but in words that apply equally to her current project, she says, “I loved it. I was very happy being in a canoe as well as in the business world. Problem solving is fun. [The product] was good quality, it was going to last and do what [customers] wanted…. It wasn’t trying to be bigger than you were. A pipe-smoking rabbit you can have a good time with.”

After an hour and a half or so of quiet paddling, we drifted into the delta where the Missisquoi empties into Lake Champlain. Herons were everywhere: perched on rocks, drifting overhead, their beaks full of branches and brush for their nests. The treetops were jam-packed, not a single branch unburdened by the twiggy nests, which looked from the boat like messy pom-poms decorating the sky. Huge and graceful, the herons’ bodies floated across the sky, their playful racket fortifying us for the paddle back against the wind. Like an old hand, I dipped my paddle back into the river, and Henry and I pushed off toward home.

Brown Alumni Magazine>Telling Secrets





Telling Secrets

Does the First Amendment’s guarantee of freedom for the press trump the right of lawyers and judges to use secrecy for tracking down lawbreakers and potential terrorists? A flurry of recent court cases—some involving alumni journalists—has put reporters on notice that relying on leaked secrets could send them to jail.

By Beth Schwartzapfel
July/August 2007

The First Amendment of the U.S. Constitution was not at the forefront of Lance Williams’s mind when he heard in September 2003 that a caravan of unmarked Buicks containing U.S. Internal Revenue Service investigators had pulled up in front of a strip mall in the San Francisco suburb of Burlingame.

Still, Williams ’72 was a seasoned investigative reporter who believed in the public’s right to know what its government is up to, and in the power of the press to find out. As far as anyone knew, the Bay Area Laboratory Cooperative, or BALCO, was a vitamin company. Yet here were all these federal agents raiding its headquarters.

“We called the IRS and said, ‘What are you doing?’” recalls Williams, a reporter for the San Francisco Chronicle. The reply was that the Buicks were part of an “enforcement action.” The officials refused to provide any more information.

Williams clicked into action. During his more than thirty years as a reporter, he’d developed an impressive knack for uncovering information that other people preferred to conceal. During the 1980s, for example, he reported on the rise of violent crack gangs in Oakland, gaining firsthand information about how they operated on the street; later Williams was told that the FBI had used his stories to begin infiltrating the gangs and curbing their violence. During the 1990s Williams wrote stories exposing top University of California officials for secretly padding their own pay and benefits packages while the university system was having trouble balancing its budget. These stories prompted the resignation or retirement of the guilty parties as well as a university ban on the types of retirement packages the executives had fashioned for themselves.

Eight years ago, Williams, who then worked for the San Francisco Examiner (it merged with the Chronicle in 2000) reported on a pharmaceutical company that had shipped contaminated sutures all over the country. His stories identified serious failures in the U.S. Food and Drug Administration’s system of oversight and product recall, proved the company had downplayed the sutures’ dangers, and helped hundreds of patients understand why their routine surgeries had caused debilitating infections.

The series relied on leaks—secret information provided by an insider—and in this case, documents that a court had ordered sealed. As with all investigative reporting, Williams extracted the secrets by promising to protect the identity of the leaker at all cost. It was a journalistic practice that would later come close to landing Williams in jail himself.

In September 2003, Williams and Mark Fainaru-Wada, his partner on the Chronicle’s investigative team, began publishing articles about the events that were unfolding in Burlingame. Because federal officials were so tight-lipped, Williams says, “a lot of the given facts of the case were actually things [we] had to dig out. Like, that there was a grand jury. That it was a steroids investigation.”

Over the next two years the men wrote more than 100 articles reporting that the IRS, the FDA, the local Narcotics Task Force, and the U.S. Anti-Doping Agency had been conducting an investigation into four men: an Olympic track coach, the weight trainer for San Francisco Giants outfielder Barry Bonds, and two BALCO executives, including the company’s mastermind, Victor Conte. They reported that Conte was using his vitamin and supplement company as a front for his real business: providing professional and Olympic athletes with performance-enhancing drugs that were undetectable by standard doping tests and then carefully managing the athletes’ drug regimens.

Williams and Fainaru-Wada wrote that a federal grand jury had been convened and that star players were being subpoenaed to testify against BALCO. Then, in a stunning series of reports, Williams and Fainaru-Wada published the secret grand jury testimony of Bonds, Olympic track star Tim Montgomery, New York Yankees first baseman Jason Giambi, Detroit Tigers outfielder Gary Sheffield, and others. In the transcripts, which described the widespread use of steroids in baseball, some of the athletes openly admitted doping themselves. (The reporters later collaborated on a book, Game of Shadows: Barry Bonds, BALCO, and the Steroids Scandal that Rocked Professional Sports, whose paperback edition was released in March.)

Prosecutors, however, were furious. Grand-jury investigators rely on secrecy to persuade people to cooperate. Someone had broken the law by breaking that bond of secrecy and providing Williams and Fainaru-Wada with testimony from the BALCO investigation. Defense lawyers were angry as well. Attorney Troy Ellerman, who represented two BALCO defendants, filed a motion to dismiss the charges against his clients on the grounds that a fair trial was now all but impossible. Investigators asked Williams and Fainaru-Wada to turn over their notes and name their informants. The reporters refused. That prompted the U.S. Attorney’s office in Los Angeles to open an investigation into who had leaked the grand-jury transcripts.

In May 2006, Williams, Fainaru-Wada, and Chronicle officials received subpoenas to testify before this newly convened federal grand jury focusing on the BALCO leaks. Again they refused. A judge then cited them for contempt, and last September he sentenced them to prison. After the reporters and the Chronicle appealed, the judge agreed to keep Williams and Fainaru-Wada out of jail until their appeal could be heard. “I despair for our free press if we go very far down this road,” Williams told the judge. “Whistle-blowers won’t come forward. Injustices will never see the light of day. Our people will be less informed and worse off.”

The BALCO stories pitted the public’s right to know about the actions of government officials against those officials’ right to pursue an effective investigation into suspected law-breaking. Does the First Amendment guarantee of freedom of the press trump prosecutors’ duty to maintain the integrity of the grand-jury system?

The answer for the past three decades has been ambiguous. Thirty-one states, including California, have given precedence to the First Amendment by establishing shield laws that grant journalists immunity from subpoenas and establish a reporter’s right to keep sources confidential. But thanks to a 1972 U.S. Supreme Court case, federal law differs from this approach. That decision, Branzburg v. Hayes, affirmed by a 5–4 vote that reporters do not have special rights not given to other citizens and that they may indeed be compelled by subpoena to testify before a federal grand jury. The justices emphasized, however, that the decision was of a “limited nature,” and that any such situation should be decided on a case-by-case basis.

For decades lower courts interpreted this decision to mean that, although reporter privilege did not apply in the specific case the justices examined, it could very well apply in others. In 1980 the U.S. Department of Justice established a set of internal guidelines, that, although not legally binding, suggested that a journalist can be subpoenaed after all other means of obtaining information have been exhausted. Even then, the guidelines specified that this should occur only in “exigent circumstances,” and only with the approval of the U.S. Attorney General. Mark Corallo, who from 2002 to 2005 was director of public affairs for the justice department under Attorney General John Ashcroft, said in a 2006 Frontline interview, “‘Exigent circumstances,’ when I arrived, they were explained to me to be grave national security matters or instances of really life and death or physical harm to people.”

Spokesman Thom Mrozek of the Los Angeles U.S. Attorney’s office points out that in 2005 the deputy attorney general told Congress “exigent circumstances” permit “compulsion of additional types of evidence if it is apparent that there are no other sources to obtain the information and that the information is otherwise essential to the case.” For about thirty years, says Lucy Dalglish, executive director of the Reporters Committee for Freedom of the Press, justice department policy remained consistent. “It’s only been recently,” she says, “that they seem to have gotten this aggressive.”

In addition to Williams, two Brown alumni journalists have been prominent targets of this new, more aggressive approach. In 2001, for example, a planned FBI raid on an Islamic charity called the Global Relief Foundation was stymied when New York Times reporters Philip Shenon ’81 and Judith Miller, who’d learned of the raid, called foundation officials for comment beforehand. U.S. Attorney Patrick J. Fitzgerald, who would later become well-known for his prosecution of vice presidential chief of staff I. Lewis “Scooter” Libby, ordered the journalists to turn over their telephone records so he could determine who’d leaked them news of the upcoming raid. (The case remains unresolved.)

In 2003 New York Times reporter James Risen ’77 was one of six journalists subpoenaed in the case of Los Alamos nuclear scientist Wen Ho Lee, who was accused of supplying nuclear-weapons secrets to the Chinese government. Relying on leaked information, Risen reported on March 8, 1999, that Lee had been fired that day and was “the prime suspect in a nearly three-year investigation of reports of Beijing’s theft of nuclear technology.” Lee was eventually cleared of all spying charges and agreed to a plea bargain that included admitting to the felony of downloading restricted data. Lee then accused the government of violating the Privacy Act by leaking information about him to the press and asked a judge to subpoena reporters to prove his case. The reporters refused to respond in court. (Their news organizations eventually agreed to contribute $750,000 toward a $1.6 million settlement between Lee and the federal government.)

The most aggressive prosecution of a reporter occurred in 2005 as part of the perjury trial of Scooter Libby. Libby was accused of lying when asked whether he had leaked the name of CIA operative Valerie Plame to reporters. In this case, reporters were compelled not simply to reveal their sources, but to testify against them—to name them as leakers in a court of law. Ultimately, Miller spent eighty-five days behind bars for refusing to disclose her source for the Plame leak. (Libby, by contrast, was convicted of lying and obstructing a leak investigation, but served no jail time, thanks to a commutation ordered by President Bush.) More troublesome was the fact that of the nineteen witnesses in the trial, ten were members of the press called in to discuss the leak, “a spectacle that would have been unthinkable only a few years ago,” wrote legal reporter Adam Liptak in the Times.

In the BALCO case, the longest sentence doled out to the four men convicted of illegally providing steroids was four months. Last September, however, after Williams and Fainaru-Wada were held in contempt of court for refusing to name their sources, they were sentenced to jail terms of up to eighteen months.

Mrozek insists that this was not an attack on the press or a free-speech issue. The justice department, he says, viewed it “as an investigation into the willful violation of a very specific court order and whether, after exhaustion of other investigative leads, members of the press could provide information as to who committed this criminal act. Based on the government’s investigation, it appears that members of the press were aware who committed this act and stood by while that person repeatedly lied to the court and to the press about his role in the matter.”

Lance Williams is a tall, long-limbed man with silver hair parted on one side, a closely-trimmed goatee, and wire-rimmed glasses. His work clothes lean toward the neatly casual, and he lives in the ultra-mellow San Francisco Bay city of Berkeley. His speech is correspondingly mellow and disarmingly friendly; his quirky, dry sense of humor sometimes makes it difficult to discern whether or not he’s joking.

Williams often downplays his successes and portrays himself as an affable-but-goofy guy who keeps getting lucky on stories—or, at most, who keeps plugging away until he stumbles on the right answer. (During a recent visit to campus, he told a group of Brown Daily Herald reporters, “I’m living proof that even if you don’t do too much in college, you’ll be able to get a job and keep it. Even stay out of prison.”) In fact, one of his strengths as a reporter is making potential sources feel as if they’re talking to an old friend, not a reporter. “He puts people at ease, in a very Midwestern sort of way,” says Fainaru-Wada. “He has a phrase he uses, when he’s talking to people: ‘We’re just talking here.’ People know he means, ‘I’m not going to pressure you; I just want to talk to you about this.’ We sit close enough [to each other in the newsroom] that I must hear it half a dozen times a day: ‘We’re just talking here.’”

The BALCO investigation was the first sports story Williams had ever worked on. (He jokes that Fainaru-Wada had to teach him how to spell RBI.) In fact, Williams never set out to become a journalist of any sort. When he arrived at Brown from his hometown of Cincinnati in 1968, he had little direction, but knew he liked to write. “I wasn’t anything special at Brown,” he says. “I thought I wanted to be an English professor, maybe.” He changed his mind after spending his junior year at University College, London, where, he says, “I got to see industrial-strength English departments in action. I realized I just didn’t have it in me.”

He graduated in 1972. His then-girlfriend (now wife), Barbara, had just graduated from Stanford, so, with nothing better to do, Williams says, he “chased this gal” to San Francisco, where he got a job in a warehouse. One of his Brown English professors, the late Roger Henkel, who’d been an influential editor in San Francisco before becoming an academic, suggested Williams check out the journalism school at UC Berkeley. “In those days,” recalls Williams, “the University of California was really cheap. I had no idea if that was what I wanted to do or not, but I knew I could afford the tuition.” In 1973, after earning a journalism degree from Berkeley, Williams landed his first reporting job at the Hayward Daily Review, from which he progressed to the Oakland Tribune and then the Examiner.

By 2006 Williams and his colleague Fainaru-Wada had become a journalistic cause célèbre. The night before his sentencing hearing last September, Williams stayed late at his office, looking through the affidavits that had been filed in support of him and Fainaru-Wada. One was from Carl Bernstein, who, along with Bob Woodward, had broken the Watergate story for the Washington Post thirty years ago. They had famously relied on leaks from Deep Throat, whose identity remained a secret for decades; without the leaks, the pair might never have gotten to the bottom of the story, and Richard Nixon might have left the White House an honorable statesman. Another note was from the assistant executive director of the organization that governs California’s high-school athletes, who said that the Chronicle’s stories had, in part, prompted the organization’s new steroids policies. In addition, former major league baseball commissioner Francis “Fay” Vincent had written to the court that “Mr. Fainaru-Wada and Mr. Williams have done a service by naming names and bringing national attention to the major crisis now facing America’s Pastime.” Most heartbreakingly, Williams had before him affidavits from the parents of two young ballplayers who’d committed suicide as a result, their parents are convinced, of depression brought on by steroid use. From his office Williams sent Fainaru-Wada an e-mail. “Whatever happens,” he wrote, “I’d do it again tomorrow.”

Williams insists that relying on leaks is sometimes the only way to penetrate what he views as excessive secrecy. “We’re trying to provide people with independent information about what their government’s doing,” he says. “I think the First Amendment guarantees that to people. The justice department spent millions in taxpayers’ funds, and then didn’t want to tell anybody what they were up to.” Although many officials at the time were criticizing steroid use by athletes in general, no one was naming any of them. Yet Williams felt strongly that, as role models for many young people, athletes should be held up to closer scrutiny. By publishing the names and the testimony of players caught up in the world of doping, Williams says, he and Fainaru-Wada were holding players accountable in a way that the government seemed loath to do.

For his part, James Risen is concerned about both the increasingly secretive nature of government and the effect of reporter prosecutions on journalism. An investigative reporter who has been covering the CIA for more than ten years, Risen, along with his Times colleague Eric Lichtblau, was the first to document the National Security Agency’s practice of spying on Americans’ domestic telephone calls without warrants, a story for which he received the Pulitzer Prize.

“The Bush people are just completely different from anything I’ve ever seen,” he says. “They’re much more secretive. They really hate the press. I don’t think ‘hate’ is too strong a word. They’re willing to do things like start a federal grand jury to investigate reporters, threaten to use the espionage act against reporters.” A grand jury was, in fact, convened to investigate who leaked Risen and Lichtblau the information about the warrantless wiretapping program; the men have not been subpoenaed for the case so far, but Risen says he, like Williams, is prepared to go to jail rather than reveal his sources. “That never was something you had to worry about before,” he says. “You didn’t have to worry under Clinton about going to jail as a reporter.” Yet he believes that journalists are not the real target of such prosecutions. “I think what they’re really trying to do,” he says, “is make it so anybody in the government is afraid to talk.”

Williams and Fainaru-Wada agree. “It’s certainly impacted who’s willing to talk to us,” says Fainaru-Wada. Given the notoriety he and Williams now have, he says, “People are fearful. This whole ordeal makes people stand back and think twice about whether they want to be whistle-blowers.”

Reporters, too, are standing back and thinking twice. “The balance you now engage in is whether the story is worth the risk of having to defend, and potentially go to jail,” says Eve Burton, who as general counsel for the Chronicle’s parent company, the Hearst Corporation, represented Williams and Fainaru-Wada in court. “If the story isn’t tremendously important to the public interest, or if the reporter has a young family, you give a second thought to it.” Hearst owns more than two dozen newspapers, magazines, and television networks, so Burton’s view is widely influential.

After his sentencing, Williams had some difficult conversations with his family. His wife and their two children—who were eighteen and twenty-four at the time—were familiar with the life of a journalist, but they weren’t prepared for this. “‘Why are they doing this to you?’ That was what my wife and kids wanted to know,” Williams recalls. “‘Why would they go after a subpoena in a baseball case?’ And I never had a satisfactory answer for them, because I don’t think they ever gave us a satisfactory answer. All they said was they had the right to do this and the power to do this, and they were going to do it.”

Thom Mrozek disputes that the reporters’ case was ever about sports. “This is not a case about baseball,” he says. “Our investigation focused on the willful and repeated violation of a court order. These are crimes that strike at the very heart of the justice system.”

As it turned out, Williams and Fainaru-Wada did not have to reveal their source after all. In February he came forward on his own, prompting the judge to drop the contempt charges against the two reporters. But the source’s identity prompted a new wave of second-guessing, this time from some media critics.

Although Williams and Fainaru-Wade won’t confirm that he was the leaker, BALCO attorney Troy Ellerman admitted that twice in 2004 he’d allowed Fainaru-Wada to take verbatim notes in his office of the grand jury testimony. Yet Ellerman is the same defense lawyer who’d earlier decried the leaks, telling the New York Times that “the jury pool has been infected and our right to fair trial has been jeopardized.” He had even filed a motion to dismiss the charges.

If Ellerman is telling the truth, Fainaru-Wada returned to the attorney’s office at least once after Ellerman had filed his motion to dismiss, putting him and Williams in an ethically tenuous position: Ellerman was simultaneously leaking information, pretending he was outraged at the leak, and then using his feigned outrage to his legal advantage. The reporters knew it, and used the information anyway. Had readers known who was supplying the leaks and why, they might have viewed the reporters’ work differently. “That is literally the only thing about this case that gives me pause,” says Lucy Dalglish of the Reporters Committee for Freedom of the Press. “I’m disappointed.”

In a column written shortly after Ellerman’s disclosure, Los Angeles Times media columnist Tim Rutten argued that the journalists were using Ellerman to get a good scoop, without regard for his ethically dubious behavior. “Conspiring with somebody you know is actively perverting the administration of justice to your mutual advantage,” wrote Rutten, “is a betrayal of the public interest whose protection is the only basis on which journalistic privilege of any sort has a right to assert itself.”

Slate media critic Jack Shafer argued that the reporters must have made a calculated decision that the information was important enough for them to hold their noses to obtain it. “That Ellerman was a special kind of sleaze surely occurred to the Chronicle reporters,” Shafer wrote. “I’m sure they regarded him as a treacherous force, but one whose perfidy served their ends, and that those ends advanced the common good as they understood it—i.e., they had a duty to inform the public of the illegal use of drugs in sports and of the many lies told by the athletes and their employers on the subject.”

The controversy underscores the murkiness underlying the practice of using leaks in journalism. Of course, there isn’t a leaker on earth without some sort of ulterior motive. Williams argues that it isn’t a reporter’s job to police a source’s motivations, only to confirm whether the information is true and worth sharing. “To me, the question is always, ‘Do we have true info?’” he says. “I don’t have a problem talking to a person who has true information, granting them anonymity. The issue for the paper, and for the reporter, is: is it interesting enough to use?

“Some people talk about how, [if you establish] a confidential source relationship, and then a source deports themselves in ways that you don’t care for, then you should out them, or say, the deal’s off,” he says. “But once you grant them confidentiality, you’ve made a promise. You’d better keep it.”

Brown Alumni Magazine>Arts & Culture>Iraqi Life Online





Iraqi Life Online

By Beth Schwartzapfel
May/June 2007

“You can join a band, or you can join a militia,” says Adel, a twenty-three-year-old engineering student at the University of Baghdad as he straps on an electric guitar. “Playing this live music and screaming, it’s like a therapy,” he says, flashing a gap-toothed grin toward a video camera.

Adel is one of three Iraqi students who are chronicling their lives on HometownBaghdad.com, a series of documentary videos produced and distributed by Michael DiBenedetto ’03. In addition to the movie-star-handsome Adel, the cast includes medical student Ausama, and Saif, who wants to become a dentist.

Hometown Baghdad made its debut on the Web on March 19, the fourth anniversary of the start of the Iraq war. New episodes are posted every few days, first to Salon.com, where they appear exclusively for twenty-four hours, then to YouTube and other sites. The “webisodes” range from forty seconds to five minutes.

Some are funny, some poignant, some banal. In one episode, Saif and his friends hang out, watching soccer and playing guitar while they prepare to say goodbye to a friend leaving for Jordan. In another, Ausama turns the camera on his young cousins as they describe a man they saw on their way home from school; he’d been shot in the head, and his brains spilled onto the road. Then the boys race around the house firing imaginary guns at each other and laughing goofily.

In an episode called “Hidden Camera,” Adel hides his video camera in a bag with a hole cut into it so he can film the wreckage and garbage in his neighborhood. “I’ll try to be careful and not say anything in English,” he says before leaving the house. If he’s caught with the camera, he says, “They’ll kill me!”

He says this in a singsong voice, but he’s dead serious. “The Iraqi producers risked their lives to do this,” says DiBenedetto. “The cast members put themselves in a ridiculous amount of danger.”

Hometown Baghdad was originally conceived for television. DiBenedetto works for NextNext Entertainment, a Manhattan-based media production company whose subsidiary Chat the Planet had produced an extraordinarily successful series of TV specials linking young people around the world. In early 2006, DiBenedetto and a colleague headed for Los Angeles to pitch a Baghdad-based reality-TV series to cable networks.

Then the urgency of life in Iraq persuaded DiBenedetto and his colleagues to use the Internet instead. They learned that their Iraqi filmmakers and cast “were receiving death threats and thinking about leaving Baghdad,” says DiBenedetto. Deciding not to wait for television’s snail’s pace, the producers went to two of their most reliable funders—the Shei’rah Foundation and Cinereach—and said, “Listen, we really want to tell these stories. We don’t really know what it’s going to look like. We don’t even know who is going to leave halfway through our production, but we need to start shooting,” says DiBenedetto.

The funders agreed, and in June the Iraqi team began filming, sending 120 hours of tape to NextNext’s New York offices for editing. The documentary will ultimately comprise forty-some episodes, upwards of two hours of programming.

Using the Web allowed the producers to connect viewers in ways TV could not, says DiBenedetto. “Online video has such an amazing ability to generate dialogue and real engagement,” he says. “There’s so much sharing with blogs that if it catches on, it will immediately spread.” So far, the Hometown Baghdad blog has received about 4,000 hits a day. Some episodes have been viewed as many as 10,000 times on YouTube. Online giants like BoingBoing, DailyKos, and Huffington Post have been spreading the word, and in the first week of the series the blog search engine Technorati registered more than 150 blogs linking to hometownbaghdad.com.

DiBenedetto, who says he “lives his life online,” is a passionate believer in the power of the Internet to connect everyday people and thus to humanize the war in Iraq, which is his ultimate goal. “People deserve to hear these stories,” he says. “ It may change the way that they see the whole war and the whole world.”

Brown Alumni Magazine>Arts & Culture>His True Loves





His True Loves

Jonathan Karp ’86 left his job as editor-in-chief of Random House to launch his own imprint and stage his first play, about a timid bookstore clerk faced with saving the world.

How to Save the World and Find True Love in 90 Minutes, book and lyrics by Jonathan Karp, at the New World Stages, New York City.

By Beth Schwartzapfel
Jan/Feb 2007

It’s Friday afternoon, and playwright Jonathan Karp is seated in an otherwise empty theater at the New World Stages, an off-Broadway complex in midtown Manhattan. Rehearsing on Stage 5, actress Anika Larsen calls out, “Does anyone remember that line?” Karp thinks for a minute and begins, “Get your sniveling…”

Larsen smiles with recognition and finishes the line in unison with him, “… ferret-face out of my bookstore!” They both laugh.

Karp describes his new musical comedy, How to Save the World and Find True Love in 90 Minutes, as the story of “a timid bookstore clerk who realizes that he’s the only person who can prevent a global catastrophe from occurring.”

It’s Karp’s first play, and the New World Stages production marks its first full run. Karp and composer Seth Weinstein began collaborating on the play in 1999, and in 2004 it was produced at the New York Musical Theatre Festival and the New York International Fringe Festival, where it filled the house and got great reviews. Karp jokes that six years from inception to production is “right on time,” noting that the average “incubation period” for a musical is five to seven years. Another reason for the delay, however, might be Karp’s day job: until this summer, he was editor-in-chief of the book publisher Random House.

After leaving Random House, Karp announced in July the launch of Twelve, a Warner Books imprint for which he now serves as editor-in-chief, publisher, and vice president. True to its name, Twelve will publish only a dozen books a year—a far cry from the fifty or one hundred that a typical imprint puts out. “As an editor, as a publisher, it’s possible to love twelve books a year without being promiscuous,” Karp quips. “I can be serially monogamous to twelve books a year.” Such a small number allows him to handpick the books and allocate enough resources into promoting each of them. Twelve’s debut lineup is eclectic and populated by such heavy hitters as Christopher Hitchens, John McCain, and the late Robert Altman. The first book, Christopher Buckley’s Boomsday, will be on sale in April.

Karp doesn’t take vacations and works on weekends. He admits that when he goes into a Starbucks and sees people reading magazines in the middle of the day, he is sometimes “overcome by a sense of longing.” But otherwise, he insists, “I’m not one of those people who only sleeps three hours a night. I have a normal life.” His “normal life” includes a toddler, Lucy, whom he is coparenting with his best friend, Deborah Malmud ’86.

Karp, forty-two, says he was stagestruck from an early age. While growing up in suburban New Jersey, he attended Broadway shows like Pippin and They’re Playing Our Song with his parents. At Brown, he was editor of the Brown Daily Herald but he abandoned a budding journalism career after the Miami Herald sent him to cover a garbage dump fire. He moved to New York City to pursue his two loves: books and theater. Random House hired him as an editorial assistant in 1989, and he worked his way up. “I fell so in love with publishing,” he said, “that it’s taken me all this time to get the theater part of [my life] realized.”

Next up, Karp says, is a musical “about a guy who discovers that he can make people fall in love whenever he sings love songs that he hates.” Heart Throb, on which he is also collaborating with composer Weinstein, will have its first staged reading at New York’s York Theater in the next year or so.

Meanwhile, on Stage 5, actor Michael McEachran is rehearsing a line about mind-reading. He puffs up his chest and deadpans, “My penis. You were thinking about my penis.” In his seat, Karp chuckles.

Karp likes to quote Bernard Malamud who, when asked for the key to good writing, is said to have answered: story, story, story. “I’ve taken that to heart in everything I do,” Karp says. “Whether I’m editing a book or writing a musical, I really care that the story be told in the best possible way.”


Brown Alumni Magazine>No Degrees of Separation




No Degrees of Separation

As documentary filmmakers, Rory Kennedy ’91 and Liz Garbus ’92 tell stories of ordinary people facing extraordinary political and social controversies. Their empathy provides an emotional depth you won’t find in news stories or the arguments of talking heads.

By Beth Schwartzapfel
Jan/Feb 2007

The brownstone at 39 Lincoln Place is a bright, airy space. Located in the heart of the Park Slope neighborhood of Brooklyn, it's the headquarters of Moxie Firecracker Films, an independent production company whose award-winning documentaries about often harrowing subjects are among the most highly praised of the past few years. Yet the atmosphere inside the building is far from harrowing. On a weekday this fall, a small, snorty dog named Angus hurled himself enthusiastically at a visitor walking through the tall wooden front doors. "We have dogs and fish and kids all over the office," says Liz Garbus '92 with a laugh.

Garbus and Rory Kennedy ’91, who first met at Brown, founded Moxie Firecracker in 1998 by merging their two independent production companies—Kennedy’s Moxie and Garbus’s Firecracker. Although the two women work separately on their individual films, their work has brought them together as friends and collaborators. As filmmakers with closely aligned creative visions, they brainstorm regularly and offer mutual support when a project becomes confusing. “We’re always consulting each other on the shape of our films,” Garbus says. “It’s really great to have someone who you can just talk to, and not have to explain the whole project from beginning to end. You want a partner in that. In the same way that when you’re married or in a domestic relationship, thatthe person that you can just talk with—this is a similar type of support.”

And as mothers of young children, Garbus and Kennedy have structured Moxie Firecracker as a family friendly place with flexible hours whenever possible. The tall-ceilinged rooms, with their marble fireplaces and creaky hardwood floors, seem full of good-natured chaos and people in jeans. Two of them chat over a computer; one gets up to corral Angus back to his little bed and then retreats to what was once a kitchen but is now a sunny sort of workspace. “They’ve really set up a nice thing for themselves,” says HBO executive Nancy Abraham, who has worked with the women on a half-dozen films. “It’s an unusual partnership.”

The atmosphere is a sharp contrast to the images being viewed in the editing room upstairs. Up here the world seems a grimmer place. Kennedy sits on a battered leather couch with writer-producer Jack Youngelson. With open binders on their laps, the two banter about the emerging shape of their current project while editor Sari Gilman ’91 controls the bank of computer monitors facing the couch. Suddenly the gruesome, now-famous photographs of prisoners at Iraq’s Abu Ghraib prison fill the screens. Here are filthy naked men, piled in a pyramid. Here is a smiling young U.S. MP posing with a battered corpse. A soldier’s voice explains how, on that night, a group of American officials arrived with an Iraqi prisoner, disappeared into a back room for several hours, and left the prisoner behind, dead. “You never saw us,” the soldier recalls the officials saying on their way out. “Have a nice day.” The images are from Ghosts of Abu Ghraib, which premieres in January at the Sundance Film Festival and airs on HBO February 22.

The clip ends, and the room is silent.

“So how long was that?” Kennedy asks.

Gilman clicks through some numbers on the computer screen. “Seven-and-a-half minutes.”

Kennedy inhales sharply. That’s long. “It’s good, though.”

Yesterday Kennedy showed a rough cut of the film to Abraham and her boss at HBO. Today she is trying to create another, more polished, version that incorporates the comments and suggestions that followed the showing.

Ghosts of Abu Ghraib did not begin as a project focused on Iraq. Kennedy was interested in the phenomenon of genocide, of exploring what happens, she says, “when people are put into situations and respond in ways that they wouldn’t imagine doing if they were living in a ‘normal’ society.” As she learned more about torture at Abu Ghraib, however, Kennedy saw many of the same themes emerging. The incidents there, she says, showed “there’s a pretty thin veneer that’s protecting us from doing crazy things.” Here was an opportunity to approach large themes through a specific story with ordinary characters, a method that is a hallmark of all her films. Kennedy got the nod from HBO to shift gears, and last March she began interviewing soldiers, Iraqis detained at the prison, Bush administration officials, and lawyers. “It’s been a whirlwind,” she says.

Kennedy and Garbus have made a name for themselves by making unflinching documentaries that tackle the bleakest of subjects—poverty, AIDS, the death penalty, substance abuse, the criminal justice system—through individual stories. While Kennedy was tracking down stories for her film, Garbus was doing the same for Coma, her documentary about patients in a persistent vegetative state, which is scheduled to air on HBO later this year. “They have crafted a distinctive reputation within the documentary community of making films that are great stories,” says Liz Ogilvie, head programmer for Docurama, which releases documentaries on DVD. “They’re really gifted storytellers. They take such intense topics and make them watchable.”

Most Moxie Firecracker films are done in a vérité style: a “fly-on-the-wall” approach that follows characters over time and watches their stories unfold. Kennedy’s 1999 American Hollow follows the life of one extended family in rural Appalachia over a single year, while A Boy’s Life, released in 2004, tells the story of an emotionally disturbed boy in rural Mississippi. Garbus’s 2002 The Execution of Wanda Jean follows the last months in the life of Wanda Jean Allen, the first black woman to be executed in modern American history, while Girlhood, released in 2003, tells the story of two teenagers and their mothers as the teens pass in and out of Baltimore’s criminal justice system.

Ogilvie says that to make a successful vérité film, the women build powerful relationships with their subjects. Kennedy’s and Garbus’s documentaries, she says, demonstrate “a certain closeness to their characters [that] really comes across. For them to be able to do that, it’s obvious that their characters trust them. And that is a real gift.”

The method allows Kennedy and Garbus to make political statements without preaching or relying on pundits and experts. Garbus’s Juvies, for instance, which aired on A&E in 2000, chronicles the lives of three young men caught up in the juvenile justice system; by simply telling their stories, the film raises questions about crime and punishment in the United States. Ghosts of Abu Ghraib zeroes in on the stories of soldiers who worked at the prison and describes the journey each took to Iraq and back home again.

“Always coming back to the emotional, the personal, makes the most powerful film,” Kennedy argues, and one of the struggles she currently faces during the editing process illustrates her point. “The experts are making all the political points that are so important, and important to me,” she explains about the footage she is editing. “But ultimately, what will happen is, we’ll edit them out. At the end of the day, hearing these [five soldiers] tell their stories and their perspectives—people can draw their own conclusion and decide about the war on terrorism, decide about the war in Iraq, decide about what America represents. We don’t have to tell them.”

Although the women broadly share the same cinematic approach, when it comes to making such artistic choices as what to shoot and how to shoot it, who gets interviewed and how, and what the overall structure of the film will be, each woman is guided by her own particular style. “As directors, we’re both very independent,” says Garbus. “Rory doesn’t need me in her editing room, and I don’t need her in mine.” Nancy Abraham has seen this dynamic play out; when working with one director, she barely interacts with the other. “Their films are really their own films,” she says. Yet Kennedy and Garbus often turn to each other for help. “I really cherish her feedback,” Kennedy says. “Together we’ve gone a lot further than we would have individually.” Garbus is always credited as a producer on Kennedy’s films, and vice versa.

The women have no qualms about directly helping the people in their documentaries. While filming Pandemic: Facing AIDS, which follows the lives of five HIV-positive people in five different countries, Kennedy bought towels and goats for some of them. She paid school tuition for others. While filming in India, she paid for a forty-by-twenty-foot neon Hindu deity. The people with whom she was working there had planned a parade for an annual festival of lights, and they “were just desperate to have this element in their parade,” she says. “I have to say, that was the weirdest thing I ever paid for.” She laughs. “But it looked pretty cool.”

Kennedy first considered filmmaking at Brown. A small-boned woman with blue eyes and thick blond hair that falls to her shoulders, Kennedy has the air of someone who is constantly thinking. As a concentrator in women’s studies at the height of the public preoccupation with “crack babies,” Kennedy decided to write her final senior project about the difficulties women face obtaining treatment for substance abuse. “The way it was being told in the press was that these were crack addicts who didn’t care about their children,” she says. However, what Kennedy learned from meeting and interviewing scores of women was that “the vast majority were trying to get treatment while they were addicted and pregnant, but couldn’t get it because a lot of the treatment programs don’t accept pregnant women.”

While working on the project, she would return to her apartment at night and try to tell her friends about the experiences she’d had that day. But Kennedy found that her recounting lacked the power and immediacy she’d heard from the women themselves. She thought of recording their stories. “If they were able to tell their stories themselves to the larger public,” she recalls thinking, “that would help people understand their plight more directly, and people would have much more empathy.”

She knew nothing about filmmaking, so she put together a film proposal and sent it to filmmakers all over the country, hoping to connect with someone who could serve as a mentor and teacher. She ultimately found Robin Smith, who ran Video/Action Inc., a nonprofit video production company in Washington, D.C. After three years of learning and working, Kennedy, along with Smith, released Women of Substance, which aired on PBS stations nationwide in 1994 and won the Gold Corporation for Public Broadcasting Award, the Gold CINDY Award, and first place at the National Council on Family Relations Media Awards Competition.

Kennedy made several more films after Women of Substance, but it was American Hollow that catapulted her career into prominence five years later. The film premiered at the Sundance Film Festival and won best documentary prizes at several other festivals; after airing on HBO it was nominated for a Non-Fiction Primetime Emmy Award. It also spawned a companion book, published by Little, Brown, as well as a traveling exhibition. Since that time she has directed a dozen more films and produced twice as many. Along the way she has picked up an armful of film festival awards, and Pandemic was nominated for another Emmy.

“What’s characteristic of her films, to me, is a certain human, emotional element that is profoundly affecting,” says Nancy Abraham, “and an enormous sense of empathy for the kind of human condition that people find themselves in. That, to me, is really an element of her films that goes beyond any scripting or planning. It’s not technical. It’s something that comes from the heart and is really touching.”

Kennedy is the youngest of eleven children born to U.S. Senator Robert F. Kennedy and his wife, Ethel. Her family background has inevitably affected her career. “Doors were more open to me than most others,” she acknowledges. “But then you’ve gotta walk through them, and do the work, and make it happen. You have to make films that are worthy.” She also inherited her family’s commitment to progressive causes, which is reflected in her choice of subject matter. “I certainly grew up in an environment where social justice was important,” she says, “where being involved in giving back was very important.”

Her family background has affected her work in an unexpected way as well. Writer-editor Youngelson, who has worked with Kennedy on four films, says, “She comes from a big family. I think that there’s this desire to be heard, to have her voice heard.” A 1999 Washington Post story referred to Rory as “the quiet Kennedy,” but she says that’s a mischaracterization. “I feel like I do projects that are important to me, and I want to call attention to those projects,” she says. “And I’m not averse to saying what’s on my mind.”

The combination of Kennedy’s family connections and her willingness to make sure powerful people are paying attention to her films can also give her movies an effectiveness that is rare for a documentarian. Pandemic, for example, began as a short educational film called Epidemic Africa, and was initially inspired by a trip she made to Africa in 2001 as part of a Clinton White House delegation. After the trip Kennedy pulled some strings on Capitol Hill and arranged for a screening for some prominent Democratic lawmakers. “Senator [Patrick] Leahy was there,” she says, referring to the Vermont Democrat who is on the powerful Senate Appropriations Committee, “and he said, ‘You know, I had the opportunity to watch your film. I put 25 million dollars in the budget for AIDS in Africa because of your film.’ ”

Growing up in Manhattan, Liz Garbus was also no stranger to progressive politics. Her mother is a social worker, and her father is Martin Garbus, the well-known civil rights attorney whose work for the ACLU has included defending the Chicago Seven and members of the Weather Underground. Garbus recalls watching as a 1970s child the emotional television commercials designed to solicit money for organizations that work in the developing world. “I remember, as a child, feeling really upset, and being like, ‘How can we not do anything?’ ” she says with a self-deprecating laugh. “But those are the kinds of questions that were encouraged in my household. [My parents] were like, ‘Right, when you grow up you can do something about those children!’ There was a whole dialogue, a whole dinner conversation about what those kids were going through. In many ways I combined their particular interests. He was a lawyer, but also an activist. And my mother—there’s that kind of compassionate side.”

Garbus first got the filmmaking itch while she was still in high school. On a whim, she brought a video camera to school on the last day of her senior year. “I went around,” she recalls, “and I was interviewing everybody about the last day of school, and I filmed some people’s last classes, where people were sort of acting out. They were very rambunctious.” She went home and edited the film with the rudimentary software available at the time, then showed it to the father of a friend. A documentarian, he told her she’d done a great job.

“I’m sure he was just being very sweet to a seventeen-year-old,” Garbus says with a laugh. “But in any event it stuck in my head as a very positive experience.” She brought that experience with her to Brown, where she concentrated in both history and semiotics and took some video-production classes.

After graduating, Garbus was torn between filmmaking or going on to graduate school and an academic career studying social politics. At Brown, she recalls, “I definitely had a real political sharpening, a focus. Academia was very effective for me, in politicizing me.”

Instead of grad school, Garbus joined Miramax as an intern and then worked for filmmaker Jonathan Stack. While she was working for Stack she got to know Wilbert Rideau, an inmate on death row at the state penitentiary in Angola, Louisiana. Rideau, who was sentenced to death in 1962 for a murder he’d committed the previous year, was editor of the award-winning uncensored prison newspaper, the Angolite. In that capacity Rideau had interviewed every inmate on Louisiana’s death row since 1976. Rideau helped Garbus and Stack gain access to six inmates serving long sentences at Angola. After following the inmates for three years, Garbus and Stack made The Farm: Angola USA, with Rideau as codirector. The film was released in 1998 and went on to win an Academy Award nomination, two Emmy Awards, and the Grand Jury Prize at the Sundance Film Festival. (Rideau’s conviction has since been commuted from murder to manslaughter. He was released in 2005 after serving forty-four years, and he and Garbus are still friends.)

“She’s very funny and very smart,” says Mary Manhardt, who edited The Farm and worked with Garbus on several subsequent films. “And she has a good attitude. Sometimes people have a successful film and they think they’re God’s gift to documentary. She had an amazing amount of success early on, but she’s very grounded about it.”

Garbus has long, curly brown hair shot through with strands of gray, a round face, and big brown eyes. She laughs a lot, and it’s easy to see why her childhood nickname was Firecracker. Nancy Abraham describes her as “a little more loose and feisty” than Kennedy. In some ways she is still the child at the dinner table. Her goal, she says, is “humanizing the stories” of people who we facilely assume are different from us. “It’s by bringing [the characters] closer to [viewers] that we all become a little bit more human,” she says. Like the little girl in New York City who can empathize with children thousands of miles away, in Garbus’s films, she hopes, “We realize that there’s not so much that separates us from them.”

Garbus is quick to point out that the people in her films have, in many cases, done terrible things. The Farm, for instance, includes a moving scene at the clemency hearing of a convict who is on death row for killing a man and maiming his wife. At the hearing, the son of the couple speaks at length about the pain that he and