Weinland Park Story Book by Wexner Center for the Arts

Weinland Park Story Book

Wexner Center for the Arts The Ohio State University Columbus, Ohio 2014

This book is dedicated to our anonymous contributors and to Antjuan Thomas, who got us going on all this by showing us his comics depicting life in Linden, another neighborhood in Columbus, Ohio. Jean Pitman and Julian Dassai Columbus, Ohio 2014

Weinland Park Story Book Project The Weinland Park Story Book project is made possible by lead support from the Cardinal Health Foundation. Special thanks to the Godman Guild Association, the Greater Columbus Arts Council’s power2give program and its donors, The Columbus Foundation, and the Weinland Park Community Civic Association. The Wexner Center for the Arts receives general operating support from the Greater Columbus Arts Council, The Columbus Foundation, and Nationwide Foundation, and additional operating support from the Ohio Arts Council. Generous support is also provided by the Corporate Annual Fund of the Wexner Center Foundation and Wexner Center members.

LEAD SUPPORT

GENERAL OPERATING SUPPORT FOR THE WEXNER CENTER

Project Team

Wexner Center Foundation Leslie H. Wexner Chair Joseph A. Alutto Vice Chair James Lyski President TRUSTEES

Nicholas K. Akins David M. Aronowitz Jeni Britton Bauer Shelley Bird Michael J. Canter Adam R. Flatto Sherri Geldin Ann Gilbert Getty Michael P. Glimcher Elizabeth P. Kessler C. Robert Kidder Nancy Kramer James E. Kunk Bill Lambert Ronald A. Pizzuti Janet B. Reid Joyce Shenk Alex Shumate A. Alfred Taubman Abigail S. Wexner John F. Wolfe

project managers

EX OFFICIO

Jean Pitman and Julian Dassai

Mark Shanda Bruce A. Soll Joseph E. Steinmetz Mark E. Vannatta

weinland park resident advisors

Laura Bidwa Diane Dixon Amin Ebady Joyce Hughes Joleah Mays Lisa Wente Martin Weston interns

Andrea Barton Josiah Clements Amin Ebady DeRico Hatcher Joleah Mays Jasmin McCloskey Hannah Steele graphic designer

Mike Greenler editor

Ann Bremner Published by Wexner Center for the Arts The Ohio State University 1871 North High Street Columbus, Ohio 43210-1393 USA Tel: +614 292-3535 wexarts.org © 2014 The Ohio State University, Wexner Center for the Arts. All rights reserved. Excerpts from The Haygoods of Columbus are used by permission of author Wil Haygood.

Table of Contents

Foreword Joyce Hughes vii

Introduction Sherri Geldin ix

Thank You Jean Pitman xi

The Weinland Park Story Book Project Jean Pitman 1

Chapter One Chapter Two Chapter Three Chapter Four Index 5

145

Foreword

As president of the Weinland Park Community Civic Association, I have watched our community grow positively. As many of you know, my parents moved into my home when I was six months old. Although I moved away from the neighborhood to experience other neighborhoods in Columbus, Ohio, and Los Angeles, California, my decision was to return “home,” to my neighborhood of choice. This book draws on the talents of our youth and adults, as well as the love we share for our neighborhood. As for our youth, they have eloquently expressed exactly what they feel about their “home.” This opportunity has given them a chance to tell us their side of the story. And our youth have been open to all the possibilities. Their honesty is like a breath of fresh air! Our adults have been given the opportunity to share their stories and artistic talents, too. As you will see, this book showcases the diversity of our neighborhood, and the ways that we celebrate and embrace our diversity. I am humbly grateful that we were given the opportunity to express the many talents we have in our neighborhood— Weinland Park! Joyce A. Hughes President, Weinland Park Community Civic Association April 2008–April 2014

Introduction

There is likely not a single cultural institution in the country that hasn’t in one way or another pursued initiatives that can be loosely labeled as “community outreach.” In fact, so widespread is the concept yet so varied the practices, that the term has become virtually meaningless—a catch-all for well-intended but all-too-often one-way contact between an institution and a targeted group of area inhabitants in which the arts professionals are extending themselves toward a particular constituency, “bringing” something of perceived artistic, intellectual, social, and/or cultural value to those who might not otherwise be inclined or able to avail themselves of such resources. And make no mistake, there can well be significant benefit gained by both the community and the institution in such efforts; even when the interaction begins unidirectionally, it can evolve into something more interactive and genuinely collaborative, so long as mutual objectives, understanding, respect, and— above all—mutual trust are part of the equation. What’s unique and especially compelling about the Weinland Park Story Book project, which now finds fruition in this publication, lies partly in the very genesis of its conception. Two longstanding community leaders of formidable stature approached the Wexner Center’s education team to explore the prospect of creating a community art project—one at that moment without precise definition or parameters. They were looking to creatively document the Weinland Park neighborhood—its past and its present—through the eyes of its residents; a chronicle that was at once of the people, by the people, and for the people. And one that would capture the extraordinary diversity and dynamism of a neighborhood often dismissed as unsafe, impoverished, or riddled with gangs and drugs. A creative undertaking that could bring more nuanced perspective to the truly variegated culture of the place. Yet given that astonishing range of races, religions, ethnicities, sexual orientations, incomes, education levels, and life experiences—it would be difficult if not impossible to convey the multidimensional character of Weinland Park through any single narrative or point of view, no matter how accomplished and sensitive the artist. Here was the challenge to which Wexner Center Educator for Youth Programs Jean Pitman brought her understanding of what “community” can mean. She was later inspired by a young man she met from the Linden area who spent hours every day drawing his life experiences as comic art, alternately sobering, funny, painful, poignant, or somehow, all those at once. His highly accomplished drawings were undeniably personal, yet surely resonant among others in his neighborhood and even beyond. So, Jean thought, might the stories of Weinland Park residents be told through art—not by a single storyteller or a single artist but by, quite literally, a community of chroniclers. As Jean notes in her essay, she came to envision “a collection of memories, anecdotes, and short stories that could embrace many voices, viewpoints, and visions.” The beauty of this approach was (and is) that no dominant creative imprint would prevail, no single storytelling or illustrational style would be privileged. In its deliberate pursuit of distinctive tales and talents, the story book could begin to convey the undeniable diversity and complexity of life in Weinland Park. Engaging teen and college-age interns, as well as professional and amateur artists, the creative team ultimately included hundreds of Weinland Park residents and some forty area artists. It was a collaborative effort in every sense—as is amply evident to anyone who pages through this volume. And most importantly, it is the result of a sustained and in-depth engagement with the community that was anything but one-way. I am indebted to Jean for her passionate embrace of this opportunity, her thorough immersion in the life of the neighborhood, and her deeply felt embrace of equality across difference. Whether told by literary lights or in front-porch conversations, whether drawn by acclaimed artists or complete novices, every entry in the book holds equal prominence and weight. Yes, of course it was a thrill to have the participation of one-time Weinland Park resident Wil Haygood (now a Washington Post journalist of great renown for having brought to light, and to the screen, the story of the White House butler who served seven presidents over four decades) and

of noted comics artist Sandy Plunkett who lives in Athens, Ohio. But while such celebrity contributors lend a sparkle, each and every story/illustration glows with the spirit of real lives lived. And we’re delighted that the story book will be distributed throughout Weinland Park itself and that its original artwork will be archived at The Ohio State University’s Billy Ireland Cartoon Library and Museum, just across the plaza from the Wexner Center. There is no doubt that the art of comics and graphic novels has come to the fore over the last few decades as a “legitimate” art form deserving of both scholarly research and public appreciation. It also happens to be a medium well suited to politically and socially relevant topics, and as such complements the center’s commitment to free expression across multiple artistic media. That the publication of this story book happens to coincide with three exhibitions on view at the Wexner Center devoted to comic artistry and its influence makes this a serendipitous moment indeed. I am grateful to everyone in Weinland Park and here at the Wexner Center for the Arts who participated in this truly unprecedented project. We salute Cardinal Health and The Columbus Foundation for having joined us in this venture, helping to assure it even greater civic resonance. Finally, I am proud beyond measure that Weinland Park neighborhood leaders Joyce Hughes and Diane Dixon saw in the Wexner Center a cultural institution that might be receptive to a partnership of this sort, unconstrained by preconceived notions and open to whatever creative impulses might authentically arise. Among the center’s core values is to be “porous to possibility,” and the Weinland Park Story Book project is testament to the power of genuine porosity between cultural institutions and their communities. Sherri Geldin

Director, Wexner Center for the Arts, The Ohio State University

Thank You The Weinland Park Story Book could not have happened without every individual and organization on this list. The project has been a dream come true for me, combining my love of social service and contemporary art to give voice and visibility to those who are too often silent and unseen, to work toward a kind of justice. I am grateful that the Wexner Center has supported me in facilitating this project. I have loved every minute of it. Thank you all. Jean Pitman

Educator for Youth Programs, Wexner Center for the Arts, The Ohio State University

Kwodwo Ababio Bethlehem Aderajew Ryan Agnew Terry Althouse Tress Augustine Demi Badger Barno Andrea Barton Donald P. Barton Charly Bauer Susan Belair Laura Bidwa Mary Jo Bole Twylia Bradley Ann Bremner Lotte Brewer Michael Brown Ty P. Carroll Michael Casto Shelly Casto William Casto Jr. Josiah Clements Susan Colbert Community Properties of Ohio (CPO) Jocelyn Connolly Lisa Courtice Dan Crane Liz Dang Phonzie Davis Jerry Dannemiller Ewart da Souza Julian Dassai Jonathan Diehl Directions for Family and Youth Diane Dixon Bruce Dooley Ahmed and Betina Ebady Amin Ebady Dionne Custer Edwards Kristina Emick Jana Evans Lisa Florman Jerome Friedman Tim Fulton Diana Gerber Sherri Geldin Ben Gibbons

Liv Gjestvang Godman Guild Association Nancy Varga Goodall Roy Gottlieb Jill and Ed Gravatt Michael Greenler John Grosvenor John Guerin Joanna Hammer Mark Harris DeRico Hatcher Wil Haygood Alyssa Haywood Susan Henderson Huckleberry House Joyce Hughes Betty Humke Max Ink Lora Innes Malcolm J. Jack Jackson Joel Jackson Khiya Jackson Gloria James Chris Jones Kay Bea Jones Gisela Josenhans Nancy Kangas Sarah Kay Rory Krupp Dorian Lafferre Left Handed Sophie Esprene Liddell-Quintyn Mark Lomax Jeffrey Lyttle Jennifer Mankin Uttara Manohar Helyn Marshall Joleah Mays Tracie McCambridge Jasmine McCloskey Caitlin McGurk Uneek McKnight Michael Mercil Shay Meyers Jasean Moore Bryan Moss Bryan Murray Michael Neno

Isom Nivins Jr. Northside Neighborhood Pride Center The Billy Ireland Cartoon Library and Museum, The Ohio State University Erik Pepple Sandy Plunkett Amanda Potter Isabel Cabal Quinto Joyce Ray Red Circle Anjanette Robertson Gloria Robinson Rafael Rosado Allegra Roscigno Solstice Rose Boryana Rusenova-Ina Khari Saffo Schoenbaum Family Center Chrissy Scott Short North Alliance Jenny Shrodes Rika Simmons Karen Simonian Sherri Sims Anna O. Soter Michael Spino Hannah Steele Steve Sterrett Chris Summers Antjuan Thomas Karla Trott Eric Troy Doreen Uhas-Sauer Katie Valeska Timothy Wade Weinland Park Community Civic Association Lisa Wente Emily Kitturah Westenhouser Martin Weston Alvin White Michael Wilkos Ellen Williams Joe Williams Tom Williams Jason and Lydia Yoder

The Weinland Park Story Book Project

Stories matter. From mundane daily occurrences we share with a coworker, friend, partner, or spouse to larger scripts in which we define (and redefine) ourselves, our ancestors, our loved ones—the tales that fill our thoughts and moments are a powerful marriage of our hearts and minds. The stories we repeat, share, and tell ourselves shape us. What stories grab our attention and why? What narratives take up most of our headspace? Which stories do we share with others and which do we keep secured inside ourselves? Which would we share anonymously, if we could? What choices do we consciously make about where we place our attention (and our intention) when we tell, or gather, stories? A child describing a simple experience of taking a library book to a park to read under a tree runs counter to the narrative endlessly drummed into us by the media about drug and gang activity in the same park. We grapple with how these multiple registers of reality can coexist, yet they fascinatingly do, all the time, everywhere all around us. And we return to this richness and complexity time and time again. Nothing is an unchanging monolith or tidy package; shades and gradations exist everywhere we turn. Art can remind us of this complexity, even in a world governed by speed and tidily compressed sound bites. In this analogue book you will see a wide variety of depictions, renderings, styles, angles, and ways of telling stories—not just in approaches to drawing, but also in voice, in ways of sharing one’s own truth. Who is speaking and what are our voices truly saying? Who is listening and what do they actually hear? Artists engage and wander among these questions, and this book offers a small demonstration of the rich range of voices and stories art can provide. A story from a child about spending allowance money to buy a pair of shoes can open a universe of possible metaphors and imagery for an artist. And why would a child want to share that particular story with us? Perhaps to share their growth from buying candy or silly stuff to making a more adult choice: to show us how their thinking, or their values, may be changing. Great beauty and a profound sense of the power of witnessing change can emerge from pausing to spend time with this child’s statement and an artist’s interpretation of it. All the stories in this book afford similarly engrossing material, if we simply give them our time. In 2011 two remarkable women—Joyce Hughes and Diane Dixon—came to visit Director of Education Shelly Casto and me at the Wexner Center for the Arts, the contemporary arts center at The Ohio State University. Both Ms. Hughes and Ms. Dixon were raised in Weinland Park and are active residents there today. They came to us because they wanted to see the creation of some kind of contemporary community art project that included the perspectives of their Weinland Park neighbors, incorporated the area’s history and present, and would bear witness to the incredible changes occurring there. Over the next several months I began to get a feel for the Weinland Park neighborhood and its residents and started to understand how unusual both are. I attended meetings and potlucks, and I started working with Malcolm J, an artist and Weinland Park resident. We created the “Art Mix Project,” a free monthly art-making session for anyone who wanted to show up, which has been adopted and continued by Community Properties of Ohio (CPO) as a part of its resident services program. I also worked with artists living in the neighborhood on Red Circle, a free outdoor arts and crafts event that takes place in the spring, summer, and fall. In addition, I made welcome contacts through a number of the social service agencies that call Weinland Park home—Godman Guild, Directions for Youth and Families, Huckleberry House, an Ohio State University Extension office, Schoenbaum Family Center, and Northside Neighborhood Pride Center, to mention just a few. These activities and connections helped shape thinking about the form a Weinland Park art project could take. Both in the neighborhood and at the Wexner Center, we talked about many possibilities, including murals or other kinds of public art and film/video-based projects. Neither seemed to quite make sense. For one thing, no single storyline or set of images or characters emerged that came close to encompassing the

incredible diversity and unique character of Weinland Park. (We were, however, very happy to be able to include one page from the Weinland Park Story Book in the Short North Alliance’s Viewpoints mural project, which features works by eleven young professional artists presented on buildings in the Short North Arts District during 2014.) Then, in the summer of 2012, I met Antjuan Thomas, a young man living in the Linden neighborhood, through Kwodwo Ababio, a community leader there. Antjuan had been making hundreds of complex, beautifully and intelligently drawn comics featuring a superhero named Captain Black that were based on his own life and set in his own neighborhood. I was fascinated and inspired by this young man who was turning challenging, sometimes painful or confusing, and often funny stories into relevant, hard-hitting art. He would visit New Harvest Café and Urban Arts Center every day and sit and draw for hours. I gave him blueline paper and micron pens and brought my friend and colleague Julian Dassai, a professional comic artist in Columbus, to visit him. Antjuan showed us stacks and stacks of comics he had created, and Julian showed Antjuan his own sketchbook. We drew together, with Julian offering Antjuan some coaching and tips. Using the lens of comics, this completely untrained high school student was representing his life experiences in his neighborhood while working hard and exercising the self-discipline needed to keep making his art stronger and stronger. (Who says teenagers can’t focus?) It was a profoundly inspiring day for me— and a defining moment for this project. Antjuan’s example pointed the way toward the Weinland Park Story Book: a graphic anthology that anyone and everyone could participate in, whether with drawings or stories; a collection of memories, anecdotes, and short stories that could embrace many voices, viewpoints, and visions. But it wasn’t just Antjuan’s art that inspired us. My colleagues at the Wexner Center and I knew that comic books and graphic novels have enormous appeal for audiences of all ages. (Programs related to such mediums have been enduring and popular staples of our education events for adults, children, teens, and teachers.) And these forms may well be where some of today’s most interesting art is taking place. We were aware that Columbus was home to a number of talented artists who work in these formats—although our familiarity with such artists has expanded enormously through this project. And we were also eagerly anticipating the opening in fall 2013 of the expanded Billy Ireland Cartoon Library and Museum on the Ohio State campus, which is sure to raise awareness for miles around about comics and cartoon art. Altogether it seemed like a terrific moment for a graphic anthology focused on a Columbus neighborhood, incorporating a wide range of stories and visual styles, with both stories and images coming from children, teenagers, and adults, from students, professionals, and amateurs. Six teenage interns—Josiah Clements, Amin Ebady, DeRico Hatcher, Joleah Mays, Jasmine McCloskey, and Hannah Steele—along with college intern Andrea Barton (from Columbus College of Art and Design) and I spent the summer of 2013 beating the pavement, dealing with rain and heat and sunburn, and taking the bus to and from Weinland Park. The interns became journalists who conducted interviews and gathered over a hundred stories from Weinland Park, face to face. They created artworks. They listened. We could not have begun or completed this project without them. Four of the teens came to us as paid interns through a Franklin County Summer Youth Employment program at the Goodman Guild Association. Two of those four were Weinland Park residents, and they were our resident ambassadors throughout the summer. The other interns had heard only scary stories about the neighborhood. Together we learned that Weinland Park is a funky, interesting, welcoming place full of intriguing, appealing, and amazingly varied people and stories. By the end of the summer, the Weinland Park Story Book project was well underway. But we kept going, reaching out to the strong community of comics artists in Columbus. They are a very hard-working, friendly, and dedicated group. Many of them like to meet and socialize and swap or buy each other’s work, so connecting with a single artist often led us

to meet several more. Perhaps because Columbus is still relatively affordable, a number of these artists have been able to work at day jobs and spend their evenings and weekends drawing comics, publishing small ’zines and maybe eventually landing enough freelance work to get by or even grow a small business. Like Weinland Park, it’s a community of interesting, intelligent, scrappy folks who are eager to rise to interesting opportunities. I worked most closely with Julian Dassai, who has been my partner on this project. For a time, a small group of local professional comic artists, including Julian, worked side by side with twelve to fifteen young people, who got to experience what it’s like to be part of a professional creative team: dealing with deadlines, timelines, and personalities; negotiating adjustments as a group; working hard and working through problems; enjoying successes together. In the end we included the work of over forty artists: beginners and old hands, established and emerging, self-taught and art-school educated. Individually and collectively, their images capture moments in the life of a neighborhood in transition, one very close in location to the Wexner Center and the Ohio State campus, our neighbors. Despite its tough reputation as a site for gang and drug activity, Weinland Park is full of warmth, humor, history, and an unfaltering “can-do” attitude. No greater diversity can be found inside such a small rectangle anywhere in Columbus. All kinds of people coexist here—students, new immigrants, and elders who have owned the same property for generations; singles and families; blue collar and white collar workers; people of different races, religions, ethnicities, genders, sexual orientations, and income and education levels. All of the stories in this book are from Weinland Park, and so are a number of the artists. But other artists come from other parts of the city and a few from elsewhere in the state. That adds another layer to the project’s aim to break through the common stereotypes about Weinland Park. When you look at the book as a whole, you see multiple registers of experience, and your picture of Weinland Park becomes so much richer and closer to reality. By capturing a cross-section of perspectives of the neighborhood we have come as close as possible to truly representing it from the inside out, based on stories told by the people who live there and know it best. Yes, creative license was taken (notice the science fiction examples), and though many artists did a great deal of research on Weinland Park (or drew on their own lived experiences there), others took the stories they were assigned in directions of their own choosing. This is not strict journalism: it’s a collaborative community project designed to bring a multitude of perspectives together into one book. Our hope is that readers might find—or recognize—a sense of what Weinland Park is like in 2014. Notice I have not used the word “analysis” anywhere in this essay. Because of its close proximity to Ohio State, Weinland Park is one of the most tested, analyzed, and dissected neighborhoods on the face of the earth. I did not want this project to take the same path, which explains its three-year duration and subjective, face-to-face, one-on-one, inside-out techniques. I feel very proud to have been part of the project as a representative of how the Wexner Center for the Arts can be a valuable community partner to Weinland Park. What are your stories? One of the most valuable lessons I have continued to learn is the importance of re-creating and reimagining new narratives when old ones lose their meaning or are forgotten or destroyed by life events or changing circumstances. Do you seek freshness in your life? Consider creating a new story for yourself. Learning this is imperative to success in embracing change, which inevitably comes to us all. Jean Pitman

Chapter One

From The Haygoods of Columbus

Any life seems an accumulation of events, fate, some luck. When I was a little boy, in love with nature, with fishing, Iâ&#x20AC;&#x2122;d walk alone the two miles to the Olentangy River dam in my hometown of Columbus, Ohio.* â&#x20AC;&#x201D;Wil Haygood

*From The Haygoods of Columbus.

Weinland Park Map

Godman Guild in the 1920s

Famed Columbus Dispatch illustrator Billy Ireland created this image of Godman Guild in the 1920s, when the community house was located near Goodale Park in an area then called Flytown. Godman Guild moved to Weinland Park in the 1960s. We thank Godman Guild Association for letting us use this illustration, which it owns.

The Bait Shop

Tracks to Paths

Christine and CJ Remember

The Story of Harry Eugene Edwards Sr.

Uvellaâ&#x20AC;&#x2122;s Story

From The Haygoods of Columbus

The things I knew seemed fine enough. I knew how to find my jar of marbles in the dark. I knew that living on the north side of Columbus in a green house with yellow trim, a back yard with a dirt hill, a raspberry bush to run circles around, I was happy. Sometimes I floated; I swear, it felt like I floated through days, mornings, afternoons. Even now I sometimes wake up on the edge of sleep and try to summon back that time and place, the way the air felt in that midwestern town, the leafy autumn days, human voices butterflying through screen doors, the shuffle of old men’s shoes—Jimmy’s brothers, my great-uncles.* —Wil Haygood

*From The Haygoods of Columbus.

Chapter Two

In the 70â&#x20AC;&#x2122;s Everything Changed

The Boy the Cops Lit Up

Toxic Soil

Biography

Dumpster Fire

What I Have Heard

Attrition

Walking Down Summit in Daylight

National Night Out

The Ringleader

Chapter Three

Dinner

Teeth

Nook Crook

3 (Hello)

Shatter

Rita

The Story of the Viola

Cayla and the Dragon

Tale of Twins

Auld Fire

Burn Warehouse Burn

Train Explosion

Sky on Fire

Cardiac Arrest

Movinâ&#x20AC;&#x2122; On Out

Chapter Four

Top Down

The Worth of Inclusion

Suits in Meetings

The Volunteer

Saint Sophiaâ&#x20AC;&#x2122;s

The Artist Known as Malcom J.

Shadarah

Wall

Pastor Robey

The Mural

Blooming Flower

Toy Drive

Money Comes, Money Goes Story by Michael Art by Ewart da Souza

Money Comes, Money Goes

Garden Party

Leslieâ&#x20AC;&#x2122;s Bird Sanctuary

100

101

Leslieâ&#x20AC;&#x2122;s Bird Sanctuary

103

Critters

104

105

Critters

Fruit Loot

106

107

Fruit Loot

Yah-Yah the Shih-Poo

108

109

Yah-Yah the Shih-Poo

Dogs

John Grosvenor

110

111

Robin the Wonder Dog

Peagles at the Park

112

113

Tramp the Dog

Wildcats Cheerleader

114

115

Wildcats Cheerleader

Good Morning

116

117

Pink Nails

Ramone and His Tree

118

119

Weinland Park Elementary

A Good Investment

120

121

Najeâ&#x20AC;&#x2122;s Story

Nya at Camp Mary Orton

122

123

Nya at Camp Mary Orton

The Lineman

124

125

The Lesson

Basketball Boys

126

127

Basketball Boys

98 Degrees!

128

129

98 Degrees!

Sunshine, Hot Day

130

131

Water Day at the Schoenbaum Family Center

Super Bikes

132

133

The Grill Man

Roof Party

134

135

Three Moms

Friday Movie

136

137

Carsonâ&#x20AC;&#x2122;s Story

Everyone Was Together

138

139

The Hill

Live Laugh & Learn

140

141

Live Laugh & Learn

Miss Francis Davis

142

143

Weeding the Godman Guild Garden

The Day the Grass Grew at My House

144

Index

147

Index of Artists and Storytellers Aderajew, B. 143 Allione 66, 125 Ambriz, A. 90 Anjanette 88–89 Barton, A. 19–23 Bel 119 Bidwa, L. 103–105 Bole, M. J. 8–9 Brittany 134 Brittney 55–56 Carroll, T. P. 112, 125 Carson 136, 137 Cayla 64–65 Christine 18 Chyna 46–47 CJ 18 Clark, C. 106, 144 Clements, J. 17, 45, 58, 103–105, 134 Cohen, M. 66 Curry, B. 133 da Souza, E. 92–93 Dassai, J. 32–37, 72, 83 Demars, N. 138 Dixon, D. 12–15 Donahey, C. 17 Dukes, D. 114–115 Ebady, A. 113, 138, 139 Ebady, B. 77 Edwards, H. E., Sr. 19–23 Elhagmusa, O. 94–97 George, J. 81 Gosvenor, J. 40–41, 110 Hammer, J. xii, 46–47, 73, 98 Hatcher, D. 59, 68, 107, 136, 139 Haygood, W. 7, 27 Haywood, A. 106–107 Hoffman, M. 60 Hoyt, M. 130 Ink, M. 12–15, 67, 78–79 Innes, L. 24–25 Ireland, B. 11 J., Malcolm 5, 29, 75, 83 Janiya 108–109 Jackson, J. 48–49 Jasean 131 Jazz 134 Jen 113 Jim 112 Juan 50–51 Kangas, N. 16, 86 Kenny 70 Kiana 120 Krupp, R. 42–44

Lafferre, D. 69, 124 Lana 67, 68 Left Handed Sophie 108–109, 114–115 Lewis, M. C. Y. 82, 111 Liddell-Quintyn, E. 135 Mays, J. 69, 90, 94, 108–109, 117 McCloskey, J. 59, 71, 99, 111, 118 McGurk, C. 120 McKnight, U. 140–141, 142 Merry, J. 86 Michael 92–93 Miller, M. 62–63 Moss, B. 55–56, 61, 84–85 Mossamba 125 Mullins, U. 24–25 Naddir 116 Naje 121 Neno, M. 32–37, 42–44 Nivins Jr., I. 91 Nya 122–123 Passmore, L. 99–101 Pitman, J. 38, 53, 81, 82, 91, 95–97, 102, 133, 138, 139 Plunkett, S. 31 Ramone 118 Robey, R. 87 Rosado, R. 77 Roscigno, A. 132 Rusanova-Ina, B. 121, 122–123 Saffo, K. 133 Sam 126–127 Samara 132 Scott, C. 142 Shadarah 84–85 Skii 119 Smith, S. 148–149 Solstice 128–129 Spruce 39 Sterrett, S. 80 Summers, C. 126–127 Synaa 117 Syquee 126–127 Thomas, A. 87, 88–89 Tyler 124 Valeska, K. 62–63, 116 Wade, T. 39, 50–51 Westenhouser, E. K. 18, 80, 100–101 Weston, M. 32–37 Wilkos, M. 78–79 Williams, T. 60, 64–65 Wolff, E. 70

Unidentified artists and storytellers chose to be anonymous.