Common Reading Book - Library Resources: Supplemental Resources

NATIONAL BESTSELLER . Provocative and illuminating essays from women at the forefront of the climate movement who are harnessing truth, courage, and solutions to lead humanity forward. "A powerful read that fills one with, dare I say . . . hope?"-The New York Times NAMED ONE OF THE BEST BOOKS OF THE YEAR BY SMITHSONIAN MAGAZINE There is a renaissance blooming in the climate movement- leadership that is more characteristically feminine and more faithfully feminist, rooted in compassion, connection, creativity, and collaboration. While it's clear that women and girls are vital voices and agents of change for this planet, they are too often missing from the proverbial table. More than a problem of bias, it's a dynamic that sets us up for failure. To change everything, we need everyone. All We Can Save illuminates the expertise and insights of dozens of diverse women leading on climate in the United States-scientists, journalists, farmers, lawyers, teachers, activists, innovators, wonks, and designers, across generations, geographies, and race-and aims to advance a more representative, nuanced, and solution-oriented public conversation on the climate crisis. These women offer a spectrum of ideas and insights for how we can rapidly, radically reshape society. Intermixing essays with poetry and art, this book is both a balm and a guide for knowing and holding what has been done to the world, while bolstering our resolve never to give up on one another or our collective future. We must summon truth, courage, and solutions to turn away from the brink and toward life-giving possibility. Curated by two climate leaders, the book is a collection and celebration of visionaries who are leading us on a path toward all we can save. With essays and poems by- Emily Atkin .Xiye Bastida .Ellen Bass.Colette Pichon Battle .Jainey K. Bavishi .Janine Benyus .adrienne maree brown .Regine Clement .Abigail Dillen .Camille T. Dungy .Rhiana Gunn-Wright .Joy Harjo .Katharine Hayhoe .Mary Annaise Heglar .Jane Hirshfield . Mary Anne Hitt .Ailish Hopper.Tara Houska, Zhaabowekwe .Emily N. Johnston .Joan Naviyuk Kane .Naomi Klein .Kate Knuth .Ada Lim n .Louise Maher-Johnson .Kate Marvel .Gina McCarthy .Anne Haven McDonnell. Sarah Miller .Sherri Mitchell, Weh'na Ha'mu Kwasset .Susanne C. Moser .Lynna Odel.Sharon Olds.Mary Oliver .Kate Orff .Jacqui Patterson .Leah Penniman .Catherine Pierce . Marge Piercy .Kendra Pierre-Louis .Varshini . Prakash .Janisse Ray .Christine E. Nieves Rodriguez .Favianna Rodriguez .Cameron Russell .Ash Sanders .Judith D. Schwartz .Patricia Smith . Emily Stengel .Sarah Stillman .Leah Cardamore Stokes .Amanda Sturgeon .Maggie Thomas .Heather McTeer Toney .Alexandria Villasenor .Alice Walker. Amy Westervelt .Jane Zelikova

Doing Oral History is considered the premier guidebook to oral history, used by professional oral historians, public historians, archivists, and genealogists as a core text in college courses and throughout the public history community. Over the past decades, the development of digital audio and video recording technology has continued to alter the practice of oral history, making it even easier to produce quality recordings and to disseminate them on the Internet. This basic manual offers detailed advice on setting up an oral history project, conducting interviews, making video recordings, preserving oral history collections in archives and libraries, and teaching and presenting oral history.Using the existing Q&A format, the third edition asks new questions and augments previous answers with new material, particularly in these areas: 1. Technology: As before, the book avoids recommending specific equipment, but weighs the merits of the types of technology available for audio and video recording, transcription, preservation, and dissemination. Information about web sites is expanded, and more discussion is provided about how other oral history projects have posted their interviews online. 2. Teaching: The new edition addresses the use of oral history in online teaching. It also expands the discussion of Institutional Review Boards (IRBs) with the latest information about compliance issues. 3. Presentation: Once interviews have been conducted, there are many opportunities for creative presentation. There is much new material available on innovative forms of presentation developed over the last decade, including interpretive dance and other public performances. 4. Legal considerations: The recent Boston College case, in which the courts have ruled that Irish police should have access to sealed oral history transcripts, has re-focused attention on the problems of protecting donor restrictions. The new edition offers case studies from the past decade. 5. Theory and Memory: As a beginner's manual, Doing Oral History has not dealt extensively with theoretical issues, on the grounds that these emerge best from practice. But the third edition includes the latest thinking about memory and provides a sample of some of the theoretical issues surrounding oral sources. It will include examples of increased studies into catastrophe and trauma, and the special considerations these have generated for interviewers. 6. Internationalism: Perhaps the biggest development in the past decade has been the spreading of oral history around the world, facilitated in part by the International Oral History Association. New oral history projects have developed in areas that have undergone social and political upheavals, where the traditional archives reflect the old regimes, particularly in Eastern Europe, the Middle East, Asia, Africa, and Latin America. The third edition includes many more references to non-U.S. projects that will still be relevant to an American audience. These changes make the third edition of Doing Oral History an even more useful tool for beginners, teachers, archivists, and all those oral history managers who have inherited older collections that must be converted to the latest technology.

From the headlines of local newspapers to the coverage of major media outlets, scenes of war, natural disaster, political revolution and ethnic repression greet readers and viewers at every turn. What we often fail to grasp, however, despite numerous treatments of events is the deep meaning and broader significance of crisis and disaster. The complexity and texture of these situations are most evident in the broader personal stories of those whom the events impact most intimately. Oral history, with its focus on listening and collaborative creation with participants, has emerged as a forceful approach to exploring the human experience of crisis.Despite the recent growth of crisis oral history fieldwork, there has been little formal discussion of the process and meaning of utilizing oral history in these environments. Oral history research takes on special dimensions when working in highly charged situations often in close proximity to traumatic events. The emergent inclination for oral historians to respond to document crisis calls for a shared conversation among scholars as to what we have learned from crisis work so far. This dialogue, at the heart of this collection of oral history excerpts and essays, reveals new layers of the work of the oral historian. From the perspective of crisis and disaster oral history, the book addresses both the ways in which we think about the craft of oral hsitory, and the manner in which we use it.The book presents excerpts from oral histories done after twelve world crises, followed by critical analyses by the interviewers. Additional analytical chapters set the interviews in the contexts of pyschoanalysis and oral history methodology.