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MSP_POD_NLP

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and most recently it helped me with an internship in classical dressage in pennsylvania.
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you know, we had to write essays in order to apply for the position. and i was also attracted to that particular internship because the trainer is also an author.
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and so we had a lot in common through the written word that way and i ended up helping him edit his most recent novel.
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rich wandschneider, the story of the nez perce is totally interwoven...
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...with the story of this place. and despite the fact that a lot of nez perce people have never been able to return, are there ways in which that story informs what happens at fishtrap?
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we've tried many times to have some kind of nez perce presence here.
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we've gone so far as to have nez perce language classes, which kim took one time from horace axttell.
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i think, though, there's a deep sore in this place.
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the people who live here know that this was taken away from indians.
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the taking was relatively recent. the people who used to live here, there were probably only a couple hundred nez perce who lived here.
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and there were at the time that they left a couple 100 white people and they were trying to get along.
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but they had big factors out there. they had civil wars and gold rushes and all this stuff that made it impossible for the nez perce to stay here.
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but they haven't forgotten it. and i remember one time a nez perce woman was down at our nez perce homeland project in malawa, she had never been here.
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when she came into this valley, she started crying immediately. she remembered stories that had been passed down, passed down, passed down.
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and i think that there's a healing in places like fishtrap and having writers come here-
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indians have a loss that nobody else had in this country. josephy said that all the time.
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and so there's a disconnect that still goes on. and i think that we get to address that here. so we're privileged to do it.
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so the theme of this year's summer fishtrap is hidden from history.
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stories we haven't heard stories, we haven't told.
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rich, i know that you did not choose this theme, you passed the torch on for fishtrap sometime ago. but i was curious for your interpretation-
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in towns like enterprise and joseph and wallowa and lostine people know each other.
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what do you get when you ask people to think about their hidden truths?
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where you are. if you're at the [inaudible 00:01:11] tavern, you might get something. i mean [crosstalk 00:01:13]
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we go to the post office with loggers and ex wives. we have to get along.
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we come to accommodation and we tell our stories back and forth and they kind of help us knit a community together.
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fishtrap is one story here now, and now this place is becoming a story. and all of these things become [crosstalk 00:01:36]
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woven into the fabric of the community.
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kim stafford, is there anything, any hidden history that fishtrap is uncovered over the years?
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yeah, i was at fishtrap one time and i was being overwhelmed by the memories of the death of my brother...
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and i left the conference and i hacked up the canyon and i came just a [desk 00:01:59] up into a meadow. and the butterflies were all coming out of so beautiful.
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and this line went through my mind. i am feeding my brother this beautiful world.
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and that was really the moment i was able to start writing a book about my brother. so it wasn't so much that you learn to write [crosstalk 00:02:19]
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at fishtrap, although that does happen, but you learn the power you will need, and that you are not alone in the process.
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kim stratford, rich w. schneider and rose caster, i want to thank you all very much for being with us today. and thanks for sharing fishtrap with us over all these years
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the josephy center for arts and culture in joseph.
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we've been throwing around a lot of j words, so it's time for a little explaining.
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the josephy center is named after alvin josephy
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the journalist and editor who came to care so deeply for wallowa county and its people,
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his imprint on the creative life of the community was so great. this building we're sitting in, a hub of arts and culture, was named after him.
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we're joined now by the josephy center's director, cheryl coughlin. cheryl, welcome.
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what do you feel like you have to do to nurture the cultural life of a community like this?
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i think our goal is always to parallel what's going on in our community...
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and that is what's going to draw people in. so we have a series of exhibits that...
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have an artistic theme to it. and then we try to line out programs, lectures, readings...
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everything that also encompass that subject. and when we do that, we bring in multiple different types of people.
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so, we had a show about horses. so, we brought in ranchers. we brought in artists that were interested in horses.
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we brought in writers who love to write about horses and that person that came for a brown bag...
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i sought developing... when i was talking to these people, most of whom were now gone.
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you wrote a really wonderful piece in the times last summer called "new west renaissance".
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and you wrote what gives joy, solace, relief and thrill to the lives of so many westerners. its the one thing that they all have in common publicly and at their doorstep.
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well, good man. i'm glad we don't fight. you're nothing like a dog, bro you don't
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bite the creative process is sometimes about embracing the awkward. this is hepworth's fifth year as an instructor at fishtrap and his workshop, "writing hip hop theater" is offered to high school students.
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myrlin hepworth's group of 14 students at fisktrap played games with words, they analyze most deaf lyrics, improvise freestyle rhymes and perform their very own beat poems.
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is the names of the eight men who were not tried and hanged-
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i think we've come to... our people are grateful for some things that people tend to not to recognize.
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and erica worth is on faculty two this time around. she comes to us from colorado. she's apache, chickasaw and cherokee.
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and her most recent publication is a scorching narrative, "crazy horse's girlfriend". erica worth, welcome to state of wonder.
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do you want to tell us a little bit about the period over which the book was written?
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there's been a fair amount of conversation in the publishing world about the death of ya novels for readers of color and writers of color for ya novels. but this-
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is that there are multiple perspectives happening at the same time?
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are your poems meant to be read aloud? some poets really just write for the page, but i don't get that off of yours at all.
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so the last reader was my little brother who at the time was in eighth grade or something.
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and that was it. he now inherited that room and he was sitting on the floor and
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it was a kind of apartheid in this country, especially in where i grew up. but i also love where i grew up,
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that we still have our traditions that they're still alive-
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the endless sense of other. yeah, we're always cancel other who's working on, as one other
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novel and production in her latest novel is crazy horse's girlfriend. thank you both for coming to fishtrap and for coming to talk to us today.
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people rise up radio presents some information for activists on how to spot infiltrators and keep yourselves safe.
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one way to neutralize as potential activists is to get them into a group that does all the wrong things. why?
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three, to frustrate and discourage activists.
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and fourth, so simply nothing good or effective can be accomplished.
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fbi and police informers and infiltrators will infest any group, but they have also been known to establish phony activist organizations themselves.
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their primary purpose is to prevent an effective movement for social, environmental, and economic justice from developing.
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agents come in small, medium or large, and be of any ethnic background. they can be male or female.
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the actual size of the group or movement being infiltrated is irrelevant.
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it's the idea behind the movement and its potential for increasing in size and impact, which attracts spies and saboteurs.
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these are some of the tactics agents use to slow things down, foul things up, destroy a movement and keep tabs on activists.
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one tactic is to destroy a group outright. another is to manipulate from within.
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for example, an agent may tell an activist you're dividing the movement.
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because this invites guilty feelings. guilt is an especially potent control mechanism. when relations have been established through dedication to a cause.
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this is designed to enhance the activist self-esteem and creates sense of shared perspective.
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agents often benefit from empowering any feelings of righteousness in activists may develop from making altruistic contributions.
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if an agent successfully creates this sense of kinship with an activist, the activist may be more likely to commit an illegal act and service to their newfound friend.
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it may be difficult to differentiate such constructed dramas from the real thing. however, it is possible for activists to identify a fraud by employing two simple tactics.
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first remain cool and detached. second observe.
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in the face of such a cool response an agent will often quickly readjust.
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this will appear to be an abrupt about face in the context to the emotional drama the agent has just played out.
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knowing the activist cannot be emotionally hooked, the agent will usually move on to other activists in short order.
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follow the leader is another tactic an agent may employ.
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a good agent will want to meet as often as possible. he or she will talk a lot and say little. one can expect an onslaught of long unresolved discussions.
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an agent may also make an unfounded accusation against a person.
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some saboteurs pretend to be activists.
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he or she might print flyers in english only, disenfranchising communities whose first language is not english.
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the agent might suggest demonstrations behold in place where no one cares about the issue or cause or where it will not be seen by many people.
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an agent might also try to confuse issues, blurring the lines between issues and broadening the scope beyond reason.
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making the wrong demands. as in, making demands that are unrelated or far reaching, that are unprincipled. according to the group,
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demands that are ineffectual or serving those strategic purpose...
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making too many demands in order to obscure the focus on the issue and suggesting impossible or improbable demands, which may make the effort appear unreasonable.
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or broke or compromise on behalf of the movement, which falls well short of the group's stated goal and may limit the group's ability to take further action.
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have endless discussion that everybody's time by turning the topic at hand into philosophical diatribes or adding lengthy personal stories.
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