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                  <text>Write Rhode Island: Our Lives Now is a flash non-fiction program, co-created by School One and local authors Hester Kaplan and Taylor Polites, that invites young people in grades 7-12 in the state of Rhode Island to reflect on their current experience during the Covid-19 outbreak of 2020. &lt;br /&gt;&lt;br /&gt;If you would like to contribute to this program, please visit our &lt;a href="https://writerhodeisland.submittable.com/submit/68d0ac6a-6c6b-44e3-a09b-cdfaedfbf4f5/our-lives-now-flash-non-fiction-2020"&gt;submissions page&lt;/a&gt; for guidelines.</text>
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              <text>Write Rhode Island’s COVID-19 flash non-fiction program Our Lives Now, a co-creation of School One and local authors Hester Kaplan and Taylor Polites, invites young people in grades 7 through 12 in the state of Rhode Island to submit a 400-word reflection on the changes in their lives during these extraordinary times. Whiteheads II was written by Joshua Gonsalves, an 11th grade student at School One who lives in Smithfield.</text>
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                  <text>Paul Cuffee School, a K-12 public charter school of choice, educates a diverse community of students from Providence, Rhode Island.  In the spirit of Paul Cuffee’s life, we teach students to value and practice personal initiative, perseverance, and social responsibility.  All of these qualities were put to the test for students this year, especially our graduating seniors.  The Paul Cuffee class of 2020 experienced a senior year unlike any other- cut short just before that time of year when, "I am graduating" sinks in and becomes reality.  No prom, no senior trip, no senior dinner or portfolio presentations, and certainly no deafening applause as they walked across the stage to receive their diplomas.  However, despite this and because of this, our class of 2020 was able to show amazing grit and resilience in order to pass their classes and earn their diplomas with a drive-through graduation ceremony!  This class has truly exemplified what it means to be committed to academic and personal growth, as well as a willingness to look outside themselves to find opportunities to make meaningful impacts in their communities (small and large).  It was with this in mind that their History teacher, Griffin Quirk, asked them to complete their final project- a reflective essay on what "I am Paul Cuffee 2020" means to them.  Here is a collection of some of those responses, unedited or redacted...personal and raw but, most importantly, honest</text>
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                <text>Jules's reflection of COVID times, questions for the future, and commentary on being within the exhibition space. This item was contributed in person to a collective binder at the exhibition Picturing the Pandemic: Images from the Pandemic Journaling Project and the Rhode Island COVID-19 Archive. </text>
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                  <text>Adaptive Practices was an interactive project developed at PPL in the spring of 2020 as the pandemic necessitated closing public spaces and prohibited public gatherings. In March, as we considered how PPL might re-imagine our programming to both reflect and work within the perimeters of this new reality, we talked with our cadre of  Creative Fellows: Laura Brown-Lavoie, Becci Davis, Kelly Eriksen, Keri King, Walker Mettling, and Micah Salkind, six artists and creators who had each worked on a long-term, original project within our Special Collections. We thought about how, as artists, their endeavors often encompassed venturing into the unknown, enduring “fallow” periods of reflection and synthesis in which no immediate “product” would result, and working in solitude when research or experimentation was necessary. So we asked them to share their work with us in a way that would allow us to see and maybe even experience how they navigate and negotiate these conditions of uncertainty and unfamiliarity, and the result was this project.&#13;
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                <text>This video was created in response to Becci Davis' "Ode to Home" workshops, part of Providence Public Library's Adaptive Practices series in Spring 2020. Participants were asked to create their own "Ode to Home" and to create a video that reflected on the concept of "Home" and how that was affected by the stay-at-home order by Governor Raimondo during the COVID-19 epidemic. </text>
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                  <text>In these five essays, first year college students in Professor Martha Kuhlman's Writing Workshop 106 class at Bryant University reflect on their experiences under the COVID lockdown at the end of August, 2020. To help students think about how to represent this difficult time, we read “We can’t comprehend this much sorrow” by Teju Cole, which was published in the New York Times May 18, 2020. Cole writes eloquently about his perspective on the pandemic from Cambridge, Massachusetts, where he is a professor of Creative Writing at Harvard. He adopts a diary format, which you will note in these student essays as well, to meditate upon his connections to New York, Nigeria, Cambridge and the rest of the world as the pandemic numbers in New York State rise.&#13;
&#13;
The students responded to the prompt, “Reflect on your own experiences with the COVID quarantine. What was difficult, and what kept you going?” You will hear from a student who had an epiphany about her own personality, a musician whose musical was cancelled, a student who worked at a hardware store, a student from the Dominican Republic, and a student whose mother passed away from cancer. My heartfelt thanks to the students for sharing their personal insights with us.</text>
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                  <text>These are the stories of the artists of RI in the time of quarantine. 18 artists were given 8mm cameras and film on which to document their lives in 2020.</text>
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                  <text>“Adapting, Creating, Communicating and Awakening”&lt;br /&gt;&lt;br /&gt;Notable Works Publication and Distribution Co., Inc. (&lt;a href="http://%20www.notableworks.org"&gt;www.notableworks.org&lt;/a&gt;) is a non-profit arts organization dedicated to raising awareness for environmental and social concerns through the arts, while providing a venue to local artists, composers, poets and musicians. During the Covid 19 pandemic, like other performance-based arts organizations, Notable Works’ team had to find new ways to continue our mission and to be able to interact with the community. &lt;br /&gt;&lt;br /&gt;This collection is a sample of some of Notable Works’ projects, publications and presentations, which were created from March 2020 to August 2021. Thank you to all the artists, poets, composers and musicians, who shared their great talent, and to the dedicated agencies in our state, who took the time to collaborate with our team on special projects. Special thanks to the Rhode Island Historical Society and the Providence Public Library for this Covid 19 Archive Project, which has giving us the opportunity to share these works with the Rhode Island Community.</text>
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              <text>In the photo, he is thick-necked and as sturdy&#13;
as a five-hundred-year-old Spanish oak bureau&#13;
in Michoacán, as heavy and unmoveable;&#13;
&#13;
Monarch butterflies rest all over his shirt&#13;
and khakis. If you close your eyes,&#13;
you can see them slowly close wings,&#13;
barely moving air. You can see the darkness&#13;
at the bottom of the well where they found him.&#13;
&#13;
In the photo, in spite of butterflies, he has no smile.&#13;
Fully frontal, he confronts the camera&#13;
as the industrial gaze: a choice to communicate&#13;
with an unknown afar:&#13;
and here I am en el norte, &#13;
where in the shortening days of August&#13;
the monarchs may chew thick leaves of milkweed&#13;
and rest in butterfly weed, &#13;
orange upon orange.&#13;
&#13;
Once, while a new farmer, I killed a caterpillar&#13;
thinking it was a tomato hornworm. &#13;
Green and yellow and black—&#13;
I should have known better.&#13;
I tried to feed it to the chickens, &#13;
said to love hornworms,&#13;
but they just looked at me strangely,&#13;
that way they do.&#13;
&#13;
I am at the bottom of the well &#13;
where they found him dead. &#13;
&#13;
One day the only orange to see may be the flowers&#13;
I planted to feed the butterflies&#13;
who no longer return, &#13;
a banquet set to empty chairs.&#13;
The one I killed might have been &#13;
the mother of thousands.&#13;
&#13;
This is how I pretend to power:&#13;
guilt is easier than helplessness.&#13;
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                <text>poem: The Monarch Effect</text>
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                <text>Mexican Environmental Activist Homero Gómez González was murdered in early 2020. This poem responds to that news and the photo of him in the newspaper articles about it, which can be seen here:&#13;
https://nypost.com/2020/01/30/homero-gomez-gonzalez-prominent-butterfly-activist-in-mexico-found-dead-in-a-well/. &#13;
&#13;
The tension within those of us in the global north who'd rather not be implicated in what our countries do in the global south was perhaps never better captured than by Carolyn Forché', who wrote from Central America: “while birds and warmer weather&#13;
are forever moving north,&#13;
the cries of those who vanish&#13;
might take years to get here.” &#13;
&#13;
This poem was published by Notable Works in 2020 in Voices of the Earth: The Future of Our Planet II</text>
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      <description>A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.</description>
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          <name>Text</name>
          <description>Write a memory, journal entry, essay, list, poem, or story below. You can attach a file below if you'd prefer.</description>
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              <text>Diptych&#13;
I. Landscape of consumption&#13;
&#13;
I’m so tired of the faux facades&#13;
of the “landscapes of consumption,”&#13;
like this mall built to look like &#13;
the village it supplanted&#13;
(lights in second story windows &#13;
with no rooms behind them&#13;
illuminate only drapery and the parking lot);&#13;
&#13;
I’m so tired of being American,&#13;
of this ‘we’ that keeps implicating me&#13;
in all kinds of atrocities,&#13;
in my insufficient resistance,&#13;
in the insignificance of my concern;&#13;
&#13;
so tired of the facades splayed &#13;
with brand names in elegant fonts&#13;
of automated recognizance, &#13;
of the logos and logoi and designs and reasons of consumption,&#13;
the artistry of my people spent&#13;
on storefronts and billboards, ads&#13;
and special effects.   I   want   to be   unaffected:&#13;
&#13;
to resist, resist, resist the purchase.&#13;
&#13;
But the best of my people’s psychology, too,&#13;
is employed to transgress my resistance,&#13;
to subvert our sufficiency.&#13;
 &#13;
We  have  had  enough.&#13;
&#13;
&#13;
II. Landscape of production&#13;
&#13;
As antidote to the trip to the mall&#13;
to watch the movie to know what &#13;
we have done with our history this time,&#13;
I bike the landscape of production, &#13;
weave the potholes of the parts of town&#13;
no one goes to except to work, if necessary,&#13;
and it’s always necessary &#13;
for some.&#13;
&#13;
Then, as antidote to the engineered and treeless&#13;
‘neighborhoods’ (you might call them&#13;
if the homes were close enough to see&#13;
each other around the sewer treatment plant&#13;
and oil tanks and adult establishments.&#13;
Sure, I am adult too, and that is one of the few spaces&#13;
off this street I am free to enter,&#13;
but I can only imagine &#13;
the discomfort of being ogled with questions&#13;
by those poor shame-debilitated men &#13;
having so much trouble getting to maturity),&#13;
	   I leave my bike at the bridge,&#13;
and walk upstream past the old mill to the unfilled&#13;
wetlands, still unbuildable, so far.&#13;
&#13;
I find trees and breezes and the small wildlife &#13;
we once took for granted, I think, though I don’t know&#13;
who ‘we’ is here, either, certainly not us-as-children,&#13;
when a pigeon’s iridescent neck would mesmerize,&#13;
a squirrel would be welcome in the attic,&#13;
and a robin a sign of something.&#13;
I’m so tired of being American,&#13;
of this ‘we’ that keeps implicating me&#13;
in all kinds of atrocities,&#13;
in my insufficient resistance,&#13;
in the insignificance of my concern.</text>
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          <name>Date</name>
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            <elementText elementTextId="20846">
              <text>?</text>
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        <element elementId="4">
          <name>Location</name>
          <description>Where was this item created?</description>
          <elementTextContainer>
            <elementText elementTextId="20849">
              <text>The landscape of production is the old mills of west end of Providence, and the landscape of consumption image is a cutesy shopping center in South County.</text>
            </elementText>
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          <element elementId="50">
            <name>Title</name>
            <description>What would you title this item?</description>
            <elementTextContainer>
              <elementText elementTextId="20843">
                <text>poem: Diptych: Landscape of Consumption, Landscape of Production</text>
              </elementText>
            </elementTextContainer>
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          <element elementId="39">
            <name>Creator</name>
            <description>Who created this item?</description>
            <elementTextContainer>
              <elementText elementTextId="20845">
                <text>Karina Lutz</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="20847">
                <text>English</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>What is it all about?</description>
            <elementTextContainer>
              <elementText elementTextId="20848">
                <text>'Landscape of consumption' and 'landscape of production' are sociological terms I learned from editing _Local Democracy under Siege: Activism, Public Interests, and Private Politics_ (New York University Press, 2007). A result of urban planning and zoning laws, landscapes of production (like factory districts) are developed distinct from landscapes of consumption (like strip malls). The starkness of the distinction can be easily ignored in a car, or when shopping online, but is unavoidable when bicycling across a city. The two types of landscapes reify  a bifurcation of the economic self.&#13;
&#13;
Published by Notable Works in 2020 in Voices of the Earth: The Future of Our Planet II</text>
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