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05/14/2018
profile-icon Jonathan Bloy
No Subjects

photo of Sylvia ContrerasWe recently posted an oral history interview with Sylvia Contreras, part of our Women of Edgewood College digital collection.  The interview was conducted shortly before Sylvia concluded her work as our library director.  You will find the interview linked on this page: http://digitalcollections.edgewood.edu/cdm/sylviacontreras/collection/p16315coll2

The Women of Edgewood College collection honors the women who led and shaped Edgewood College while living the Dominican tradition.  Access the entire collection here: https://library.edgewood.edu/women

Who else should we interview?

Do you have a suggestion of an important faculty, staff, or alumni we should interview for the Women of Edgewood College collection?  Contact the library’s digital collections office and let us know!  https://library.edgewood.edu/contact-digital-collections

05/10/2018
profile-icon Jonathan Bloy
No Subjects

Book cover, Born a Crime by Trevor NoahOver a decade ago, I read that a fundamental goal of the Liberal Arts is to prepare its graduates to communicate appropriately with (practically) anyone in any circumstance—a worthy goal for any world citizen.  The two books that I have chosen for my (farewell) posting delightfully explore this, by authors who are masters.

Born a Crime by Trevor Noah, features his:

  • Trademark humor (“I was famous in my neighborhood just because of the color of my skin... people would give directions using me as a landmark. “At the corner you’ll see a light-skinned boy. Take a right.”) 
  • Warmth and insight (“Language, even more than color, defines who you are to people.”  “Language brings with it an identity and a culture, or at least the perception of it. A shared language says "We're the same." A language barrier says "We're different.”  “Mandela once said, 'If you talk to a man... in his language, that goes to his heart.')

Book cover, Swing Time by Zadie Smith

Swing Time by Zadie Smith

This book explores a world of topics as it riffs on the African-based rhythm and dance (kinetic joy) that bubbles through much of pop culture, speaking to our soul across race, culture, time...  It also is “nimble enough to keep all its diverse parts moving gracefully toward a vision of what really matters in this life when the music stops.”  - Ron Charles, Washington Post.

Carolyn De Luna
Electronic Services Librarian

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