Showing posts with label Carmen T. Bernier-Grand. Show all posts
Showing posts with label Carmen T. Bernier-Grand. Show all posts

Children's Books about César Chávez: Telling or Showing?


Many reviewers of books for young readers give a free pass to the often-oversimplified narratives and illustrations that constitute pictorial biographies. I have seen and heard, more often than not, comments to the effect that these are “just” for children and therefore, should not contain more than brief chronologies of events. It is my firm belief, however, that young children who are challenged to think deeply are capable of understanding complex issues and responding positively. Values such as “empathy,” “honesty,” “kindness,” “respect” and “fairness,” among others, can be encouraged early on if they are modeled in life—and shown in picture books.

I use the word “shown” because one of my other firm beliefs is that children shown how to think are more likely—than are those who are “told” only what to think—to develop into critical readers and thinkers, children who will apply what they have learned to their lives.

To illustrate how some picture books “show” and others “tell,” let’s look at a pair of excerpts, each from the introduction to a picture book about César Chávez. Following the excerpts are my comments.

Excerpt 1:  

As a child, Cesar Chavez traveled with his family from one farm to the next to pick beans, broccoli, lettuce, and other crops. After a day in the fields, his back often ached. His hands were sore. Yet Chavez and others who helped put food on Americans’ tables often had no tables of their own, no real homes. Later, Cesar Chavez would lead the fight for better pay, working conditions, and health care for families such as his.[1]

Excerpt 2:

¡Híjole!
Who could tell?

Who could tell
that Cesario Estrada Chávez,
the shy American
wearing a checkered shirt,
walking with a cane to ease his back
from the burden of the fields,
could organize so many people
to march for La Causa, The Cause!

Who could tell
that he with a soft pan dulce voice,
hair the color of mesquite,
and downcast, Aztec eyes,
would have the courage to speak up
for the campesinos
to get better pay,
better housing,
better health?

¡Híjole!
Who could tell?[2]

Comments: While Excerpt 1 implies that César Chávez was born poor, that he had no real home, and that he was not American, Excerpt 2 makes no such implications.[3] While Excerpt 1 dispassionately tells young readers that “after a day in the fields, his back often ached” and “his hands were sore,” Excerpt 2 shows them the effects of a lifetime of difficult labor: “walking with a cane to ease his back/ from the burden of the fields.” While Excerpt 2 shows young readers how César Chávez belonged to the land and the culture (“shy American,” “hair the color of mesquite,” “soft pan dulce voice,” and “downcast Aztec eyes”), Excerpt 1 does not.

Now, here are some more excerpts from picture books about César Chávez, including the ones we’ve already examined. Each excerpt below either “shows” or “tells” about an aspect of his life. In each category: Which ones carry stated or unstated assumptions that “tell” children what to think? Which ones “show” or gently lead children into understanding? Which ones are more likely to engage child readers? Which ones are more likely to encourage empathy in child readers?


Early Childhood

Facts: As a young child, Cesario Chávez lived with his large extended family on an 80-acre ranch, where the family produced all that they needed, not only for a comfortable life, but also to stock their grocery store and feed homeless people who happened by. Cesario and his siblings were raised on the dichos of their mother, the examples of their father, and the stories of their grandparents—and lots of love. He later wrote, “I had more happy moments as a child than unhappy moments.”


Cesar Chavez was born in 1927 near Yuma, Arizona. His family had a grocery store and a farm. Cesar was born in a little room over the grocery store.[4]

Everyone in the Chavez family worked on their farm. Cesar’s father planted seeds in the dirt. He hoed away the weeds. He dug ditches to bring water from the river to the farm. Without water, the crops could not grow. Cesar and Richard fed the horses, cows, and chickens. They gathered eggs. Rita washed clothes by hand. Juana made tortillas from ground corn. Their family was poor.[5]

Cesar woke up early each morning and did the usual farm chores. He carried water from the nearby canal, fed the animals, and gathered eggs. Then he went to school.[6]

Until Cesar Chavez was ten, every summer night was like a fiesta. Relatives swarmed onto the ranch for barbeques with watermelon, lemonade, and fresh corn. Cesar and his brothers, sisters, and cousins settled down to sleep outside, under netting to keep mosquitoes out. But who could sleep—with uncles and aunts singing, spinning ghost stories, and telling magical tales of life back in Mexico? Cesar thought the whole world belonged to his family. The eighty acres of their ranch were an island in the shimmering Arizona desert, and the starry skies were all their own.[7] 


Family

Facts: Cesario’s extended family was huge: Besides grandparents, parents, sisters and brothers, there were aunts, uncles and cousins. These loving role models were always around. From his father, he learned the value of honest work, however hard—and the inequities of the farm labor system. From his mother, he learned the value of compassion and the importance of caring for poor and homeless people. From his grandparents, aunts and uncles, he learned about faith, the history of his people, and how to read in Spanish.

Cesar’s father was often too busy to spend time with his family. It was Cesar’s mom who kept them together. She told her children stories. She taught them values and many proverbs, such as “What you do to others, others do to you.”[8]

At night, Cesar watched his father make toy cars from tin cans and small pieces of wood. Cesar and his brothers played with their cars on the floor. At bedtime, their grandmother listened to the children’s prayers.[9]

(Librado) taught César
how to make cars
out of sardine cans
and tractors
out of spools of thread….
Tugged at César’s ears
and patted his head….
(Juana) often spoke to César in dichos,
taught him from the Bible.
“What does the Lord require of you,
but to do justice,
to love kindness,
and to walk humbly with your God?”
Hated violence.
“God gave you senses,
like your eyes, and mind, and tongue
and you can get out of everything.”
Gave César manzanilla tea,
and hugged him tight.[10]

Until Cesar Chavez was ten, every summer night was like a fiesta. Relatives swarmed onto the ranch for barbeques with watermelon, lemonade, and fresh corn. Cesar and his brothers, sisters, and cousins settled down to sleep outside, under netting to keep mosquitoes out. But who could sleep—with uncles and aunts singing, spinning ghost stories, and telling magical tales of life back in Mexico?[11] 

César learned from his parents. His mother told him many stories that taught about the importance of helping the poor and not being violent. César’s grandmother also taught him how to believe in God and the teachings of the Catholic Church. César’s uncle taught him to read in Spanish.[12]


School

Facts: School was a horrible time for young Cesario. Here is where his name was changed to “Cesar,” and he was taught that all that he learned from his family was worthless; that he was “less than” because he spoke, read and wrote in Spanish. The usual punishment for young César and his Spanish-speaking friends was humiliation—and to have the Spanish beaten out of them. Needless to say, he hated school. But he remained, learning to speak, read and write English, and learning the other skills that would serve him later in life. César was the first in his family to graduate from eighth grade.

The teacher told the children to speak English. Speaking English was hard. Everyone spoke Spanish at home. Many times, Cesar forgot to speak English. Then the teachers hit his fingers with a ruler.[13]

The Chavez family spoke Spanish at home; but in school, whenever Cesar spoke Spanish, his teacher hit him. “It’s a terrible thing,” he later said, “when you have your own language and customs, and those are shattered.”[14]

School was an unwelcoming place. He wasn’t allowed to speak Spanish, the family’s household language. In fact speaking it brought on punishment. All Cesar would remember of school was the whistling of the ruler as it came down on his wrist or knuckles.[15]

Once, after Cesar broke the rule about speaking English at all times, a teacher hung a sign on him that read, I AM A CLOWN. I SPEAK SPANISH. He came to hate school because of the conflicts, though he liked to learn.[16]

One word in Spanish,
 just one word,
and ¡Fuii! whistled the ruler
across César’s knuckles
its edge cutting sharply.
The teacher hung a sign
around his neck:
“I am a clown.
I speak Spanish.”
“If you’re an American,”
 she said,
“speak only in English.
If you want to speak in Spanish,
go back to Mexico.”[17]

In 1992, I worked with an ad hoc group of Bay Area parents, students, school workers and community activists. Together, we gave our skills and life experiences to a project that evaluated a set of history and social studies textbooks with a collective eye on giving our diverse community’s children what they needed to survive and thrive.[18] The insidious message with the focus of these textbooks, as we stated, was this: “In order for some children to be proud of their histories, other children must be made ashamed of theirs.” We went on to say, “We have to teach (all our children) who they are, where they came from, and how they can change the world.”

It’s not enough for children to be told the facts. Children need to be shown to see the colors, hear the music, sniff the air, taste the food, touch the trees and feel the emotions. ¡Sí, se puede!

—Beverly Slapin
(published 12/8/13)



[1] David A. Adler and Michael S. Adler, A Picture Book of Cesar Chavez, illustrated by Marie Olofsdotter. Holiday House, 2010.

[2] Carmen T. Bernier-Grand, César: ¡Sí, Se puede! Yes, We Can!, illustrated by David Diaz. Marshall Cavendish, 2004.

[3] In fact, young César and his family lived in a spacious adobe house that his grandfather had built many years earlier. As Kathleen Krul writes, “Cesar thought the whole world belonged to his family. The eighty acres of their ranch were an island in the shimmering Arizona desert, and the starry skies were all their own.” It wasn’t until César was ten years old, when the Great Depression hit, that the Chávez family joined hundreds of thousands fleeing to California to seek itinerant work.

[4] Susan Eddy, Cesar Chavez. Children’s Press, 2003.

[5] Ginger Wadsworth, Cesar Chavez, illustrated by Mark Schroder. Lerner, 2004.

[6] Adler, op. cit.

[7] Kathleen Krull, Harvesting Hope: The Story of Cesar Chavez, illustrated by Yuyi Morales. Harcourt, 2003.

[8] Adler, op. cit.

[9] Wadsworth, op. cit.

[10] Bernier-Grand, op. cit.

[11] Krull, op. cit.

[12] Richard Griswold del Castillo, César Chávez: The Struggle for Justice / La lucha por la justicia, illustrated by Anthony Accardo. Piñata Books, 2002.

[13] Wadsworth, op. cit.

[14] Adler, op. cit.

[15] Gary Soto, Cesar Chavez: A Hero for Everyone, illustrated by Lori Lohstoeter. Aladdin, 2003.

[16] Krull, op. cit.

[17] Bernier-Grand, op. cit.

[18] Our evaluation, which we distributed widely, was entitled, Communities United against Racism in Education: CURE Analysis, Houghton Mifflin History/Social Science Series, 1991.

Picasso: I the King, Yo el rey


author: Carmen T. Bernier-Grand
illustrator: David Díaz
Amazon Children’s Publishing, 2012
grades 6-up
Spanish

As in her other poem-biographies, Bernier-Grand’s elegant free verse is crisp and clean, with every word precisely chosen. Here, in 40 carefully researched poems, she chronicles the creative and turbulent life of Pablo Picasso—profound narcissist (“yo el rey”), notorious philanderer (“ravenous for orgies”), tormented hypochondriac (death, “the mistress that never leaves you”), loving father (“let the children just be children”)—and artistic genius, perhaps one of the most important of the past century. Although Bernier-Grand frankly discusses Picasso’s many relationships and marriages and how the women in his life inspired his artistry (“As paint is to brush, women are to Picasso’s art”), she neither sensationalizes nor demeans them.

Here, Bernier-Grand writes of Picasso’s main obsession:

When Picasso has emptied himself of painting, he draws,
when he has emptied himself of print making, he sculpts,
when he has emptied himself of sculpting, he illustrates,
when he has emptied himself of illustrating, he photographs,
when he has emptied himself of photographing, he writes poems,
when he has emptied himself of writing poems, Picasso paints.
when he has emptied himself of drawing, he make ceramics,
when he has emptied himself of ceramics, he makes prints.

Extensive back matter includes a biographical essay, entitled “Pablo Picasso and the Mistress Who Never Left Him,” which fills in any and all gaps in the poetry; a chronology, a glossary of Spanish words and terms, a list of sources, and copious notes on paintings and quotes.

Interspersed throughout the book are reproductions of some of Picasso’s paintings, including an exhausted woman bent over an ironing board, portraits of Gertrude Stein and Georges Braque, and sex workers in a brothel. I was especially glad to see Picasso’s perhaps most important and definitely most famous painting, “Guernica,” which memorializes the Nazi bombing in 1937 that killed some 3,000 people, injured more than another 1,000, and destroyed the Basque town. Accompanying the painting on a two-page spread are a descriptive poem and short historical note. 

Bernier-Grand writes:

Monday—market day
Guernica
Basque city
bombed.
Peasants shot from the air.
Children and women
horses, sheep, cattle
    slaughtered.
Terrible deaths.

Picasso paints:
eyes open in horror,
mouths shrieking,
a horse screaming,

a shocked bull.


As an introductory biography of a particular artist, Picasso presents myriad opportunities for teachers of middle- and high school students: an introduction to modern art and artists, an exploration of the relationships between art and history and censorship (including point-of-view depictions of world events), a discussion of the many and varied forms of cultural expression, and a model for writing exercises of bio-poems.

In answer to those reviewers who criticized Picasso for not being a “happy” book and/or suggested that children should not be exposed to the seamy sides of Picasso’s life, I would say this: Every child who watches television, and every teenager who reads graphic novels, is exposed to sexuality, death, disease, suffering and war—in situations and circumstances that occur every day. I’d rather have children read an honest biography that discusses the issues of a person’s life than one that obfuscates them. Bernier-Grand is a brilliant storyteller who pushes boundaries and takes great care with her words. She is also ethical; I don’t believe she would ever attempt to conceal unpleasant facts about someone whose biography she decides to research and write. I applaud her choices, especially here. Picasso: I the King, Yo el rey is a remarkable achievement. It’s an illuminating and provocative work of art—poetically and visually. Highly recommended.

—Beverly Slapin
(published 11/21/13; paragraph redacted and note added, 2/15/18)

Note, 2/15/18: Multiple women have come forward with public statements that David Díaz sexually harassed them. After investigating claims against Díaz, the Society of Children’s Book Writers and Illustrators (SCBWI) removed him from its board and conference faculty, and expelled him from the organization. Several other conferences have banned him as well. We have redacted our references to his art in this review.



Diego: Bigger than Life

author: Carmen T. Bernier-Grand
illustrator: David Díaz
Marshall Cavendish, 2009
grades 7-up
Mexican

Here is Diego Rivera, the revolutionary Mexican artist who sought justice for all poor and working people. Here is Diego Rivera, the woman-chaser, whose many marriages and extra-marital affairs were well known. Here is Diego Rivera, the storyteller and, some would say, master liar. The 34 poems here, in flawlessly executed free verse gathered mostly from Rivera’s own writings—and occasionally, from those of Frida Kahlo and the Mexican Communist Party—affirm the exhaustive amount of research that Bernier-Grand must have undertaken.

In the text of her work, the author chooses to leave Rivera’s perspectives virtually untouched, relegating unanswered questions and hypotheses to a helpful author’s note. In a piece entitled “The True Life of Diego Rivera,” Bernier–Grand raises the inconsistencies between Rivera’s writing and information available today—When Rivera was born, was the pale infant really thrown into a dung bucket? Was he really raised by an Indian wet nurse? Did the Mexican Communist Party really expel him, or did he expel himself? Here is where Bernier-Grand details the political and personal controversies of Rivera’s tumultuous life and work, as well as his many stormy dalliances, affairs and marriages. 

In addition to “The True Life of Diego Rivera,” there’s a short section entitled “In His Own Words.” Other back matter includes a glossary, a chronology of Rivera’s life, a list of sources, and copious notes that support Bernier-Grand’s research. This wealth of material will prove invaluable for student research and classroom projects, including, for example, a study of political mural art or that of point-of-view in published biographies and autobiographies.    

But it’s the biography itself that’s a veritable work of art. Here, Bernier-Grand, with an amazing economy of words, paints a portrait of a man who was, indeed, “bigger than life”:

As naturally as I breathe,
I painted in grand scale the colors of Mexico—
clearer, richer, more full of light than colors in Europe.

As naturally as I speak,
I painted in grand scale the music of Mexico
in markets, crowds, festivals—
Burning of the Judases, the Dance of the Deer.

As naturally as I sweat,
I painted in grand scale the workers of Mexico
in fields, mines, streets—
Indians carrying bundles of calla lilies.

A million public walls
wouldn’t be enough
to paint all the beauty of Mexico.


Diego: Bigger than Life is, indeed, an amazing mural of words. It is highly recommended.

—Beverly Slapin
(published 11/19/13; note added )

Note, 2/15/18: Multiple women have come forward with public statements that David Díaz sexually harassed them. After investigating claims against Díaz, the Society of Children’s Book Writers and Illustrators (SCBWI) removed him from its board and conference faculty, and expelled him from the organization. Several other conferences have banned him as well. We have redacted our references to his art in this review.

Juan Bobo: Four Folktales from Puerto Rico


author: Carmen T. Bernier-Grand
translator: Carmen T. Bernier-Grand
illustrator: Ernesto Ramos Nieves
“I Can Read” / HarperTrophy, 1994
preschool-grade 3
Puerto Rican


 Oral stories often speak of the real and unreal, known and unknown, past and future, helpful animals and powerful tricksters and courageous heroes. And sometimes, oral stories impart their wisdom through characters who appear dazed and confused—who teach proper behavior by behaving improperly. Juan Bobo—as one could discern from his name—is Puerto Rico’s most beloved noodlehead. “For decades,” Bernier-Grand writes in her short author’s note, “Juan Bobo, the invention of rural storytellers of Puerto Rico, has been one of the most popular fictional characters on the island…. The oldest and best-known Juan Bobo stories authentically illustrate what life was like in poor rural areas of Puerto Rico at the beginning of the twentieth century.”  

There are literally hundreds of storybooks about Juan Bobo, some better than others. In the 1920s, Pura Belpré, the wonderful storyteller and puppeteer—and first Puerto Rican librarian hired by the New York City Public Library system—brought Juan Bobo to the mainland so that Puerto Rican and other Spanish-speaking children and their families could enjoy his antics in Spanish—and feel connected to their cultures in a hitherto English-only library system.

In telling these Juan Bobo stories, Bernier-Grand is not only a wonderful storyteller, but also someone who illustrates Puerto Rican rural traditions—from subsistence farming, to minding one’s manners as a dinner guest, to selling homemade syrup at church. Here, to the constant exasperation of his overburdened mother, Juan Bobo takes all of her instructions literally, and each task she gives him results in a comedy of errors.

For the most part oral stories leave their lessons unstated, for the listeners to figure out and enjoy. Here, Bernier-Grand has flawlessly transported the stories to print; her flow and timing are superb. Each time the ever-adventurous Juan Bobo falls into a new and different catastrophe, youngest listeners and emerging readers will scream with delight.

Here is Juan Bobo, asked to bring his mother some water, trying to make his task easier and winding up with a big mud puddle. Here is Juan Bobo, instructed to take care of the family pig instead of going to church, and dressing her up in his mother’s Sunday clothes. Here is a hungry Juan Bobo, invited to lunch, told not to sneeze or scratch or touch the food with his hands—and leaving as hungry as when he arrived. And here is Juan Bobo, told to sell their homemade syrup to the church ladies who are small and soft-spoken and “they wear shiny black dresses and carry fans”—making sure the flies get their fill.

Ramos Nieves’s acrylic paintings, on a palette that reflects the hot tropical colors of the Puerto Rican countryside, are stylized and vibrant, and complement Bernier-Grand’s charming tellings. There are Puerto Rican flags all over—including on the roof of the “Bobo” family’s tiny house and on Juan Bobo’s kite. There’s a lizard climbing up a palm tree in the front, and chickens running free. Young Juan Bobo is shirtless and wears a straw jibaro hat and pants. He has a dark complexion; his mother, who wears a headscarf when she’s working, has a slightly lighter complexion; and the gussied-up neighbor who invites them to dinner—and lives in a house with a china cabinet and lace tablecloth—is clearly of mixed ancestry.

But there is a problem: Since these Juan Bobo stories are folktales from Puerto Rico, one might think that the Spanish text would either be given prominence—or at least, placed near the English text and artwork. Rather, the Spanish text, in small print spanning only five pages, is relegated to the back of the book. So early elementary school teachers who want to read these stories to a class in Spanish, would have to flip back and forth from text to illustration—in a very small book. As well, the Spanish translation appears to be rushed and literal, not typical of the way that Bernier-Grand carefully crafts her writing. I wonder why this was the case. Treating the Spanish text as unimportant back matter is clumsy and confusing, not to mention disrespectful, to the language and the culture.

Juan Bobo: Four Folktales from Puerto Rico is currently out of print and unavailable. My hope is that a progressive multicultural publisher will see it for the treasure it is, and republish it in a large-format, bilingual storybook that children and their teachers will love. As it stands, this version of Juan Bobo stories is highly recommended for the wonderful English text and the amazing artwork; but it’s not recommended for the book size, Spanish as an afterthought, and abysmal design.

—Beverly Slapin
(published 11/17/13)

Sonia Sotomayor: Supreme Court Justice



author: Carmen T. Bernier-Grand
illustrator: Thomas Gonzalez
Marshall Cavendish, 2010
grades 3-6 
Puerto Rican

Bernier-Grand’s elegant free verse shows, rather than tells, stories from the life of the first Latina Justice to be elected to the US Supreme Court. This is, in a sense, a family album of snapshots.

Here is baby Sonia, born “a Nuyorican, as American as mango pie.” Here she is as a three-year-old, speeding on her tricycle, about to scrape a freshly painted wall, because “tranquil Sonia is not.” Here is Mami, leaving food on the stove, in case the kids get hungry before she returns from work. Here is her Papi, who “makes the best mofongo in the South Bronx” and takes Sonia to baseball games.

Here are Sonia and her cousins in Bronxdale, “the core of her universe.” In Bronxdale, where the buildings look like dominoes, the cousins play bingo with chickpeas, while Papi cooks and Mami and the Tias dance to the rhythm of the merenge on the record player. Here is Sonia vacationing in Puerto Rico, savoring a sweet syrupy piragua, playing jacks with her cousins, and being lulled to sleep by the “kokee-kokee” songs of thousands of tree frogs.

Secure in the arms of a loving extended family and community, Sonia’s life, still, is not without struggle. In primary school, she hides a “shameful secret: Words in English have no meaning,” and at Princeton, she can “barely write a college paper.” But, as hard working and doggedly determined as her Mami, Sonia pushes herself and “finally conquers writing.” There have been many more battles in Sonia Sotomayor’s life; she has been through a lot and has emerged as, indeed, a “wise Latina” who brings to the Supreme Court bench a perspective rarely seen.

To add to but not overburden the picture-book format, Bernier-Grand includes a helpful appendix with a short biography, glossary of Spanish terms, chronology, bibliography, and source notes.

Gonzalez’s mixed-media artwork includes pastels, technical pens, and airbrush. The pictures that have been copied from actual photos especially complement Bernier-Grand’s textual “snapshots.” At the same time, several of the pieces show only the back of Sotomayor’s head, or a side view that does not show her face, or a wedding picture seen from the back, or her hands, literally “touching the sky.” These are off-putting and do not fit with the “snapshot” quality of the others, and I wonder why they were done this way.

In truth, Sotomayor’s face is very hard to capture. She’s a big, strong, Latina. She’s tough— always has been. In virtually every photograph I’ve seen of her as an adult, she has a full smile, sometimes forced. But in the cover illustration, Gonzalez softens Sotomayor’s appearance: in her judicial robes, she looks at least 20 years younger, her face is thinner, her hair is straighter, her mouth is closed, and she’s lost her under-eye puffiness. And the American flag and clouds behind her add an unnecessarily romantic touch.

Nevertheless, Sonia Sotomayor: Supreme Court Justice is highly recommended.

—Beverly Slapin
(published 4/6/13)


César: ¡Sí, Se Puede! Yes, We Can!

 
author: Carmen T. Bernier-Grand
illustrator: David Díaz
Marshall Cavendish, 2004
grades 2-6
Mexican American

In a powerful collection of lyrical, free verse poems rich in farm worker idiom, Bernier-Grand has reconstructed the life and work of the founder and organizer of the United Farm Workers. What makes these poems remarkable is that they not only chronicle the life of a brave and humble man, they also contain his own words. The back breaking work of thinning lettuces with a short-handled hoe, workers trying not to breathe in the deadly pesticides, people too tired to feel their hunger, and a prayer: “give me honesty and patience, so that I can work with other workers.” César: ¡Sí, Se Puede! Yes, We Can!, a Pura Belpré Honor Book, will help develop empathy in young readers, will help them understand the stuff and dreams that make heroes out of ordinary people.

The back matter includes source notes, a glossary of Spanish words, a brief biographical essay and chronology, and a selection of essential quotes. Although there is a Spanish-language version, it’s too bad that this otherwise excellent book is not bilingual. Highly recommended.

—Beverly Slapin
(published 4/6/13; paragraph redacted and note added 2/15/18)


Note, 2/15/18: Multiple women have come forward with public statements that David Díaz sexually harassed them. After investigating claims against Díaz, the Society of Children’s Book Writers and Illustrators (SCBWI) removed him from its board and conference faculty, and expelled him from the organization. Several other conferences have banned him as well. We have redacted our references to his art in this review.