All the fun stuff from campus: Pomona College tidbits, traditions, lore and more.

Cecil Skateboarding


From sculptors to screenwriters, creative Sagehens get the spotlight.

Cecil Skateboarding

Sagehen surprise in Lethem’s new book; Pynchon’s latest tome mentions Pomona, too

dissident1Though it is set in Queens, Pomona College Professor Jonathan Lethem’s latest novel, Dissident Gardens, contains a fun little nod to his SoCal college home. Deep in the novel about “three generations of All-American radicals,” as Lethem is unspooling a bit of background about purist music teacher Harris Murphy, we learn that Murphy was part of the short-lived duo which contributed one song to the anthology LP Live at the Sagehen Cafe.

For those who are decades away from campus life, the Sagehen Cafe is the sitdown eatery in the Smith Campus Center, adjacent to the Coop Fountain.

Lethem says it is the only Pomona allusion he dropped into the book (available Sept. 10), but he did pass along the news that Thomas Pynchon’s new novel, Bleeding Edge (available Sept. 17), also set in New York, contains a brief reference to Pomona College in its first few pages.

Perhaps it is no surprise that Pomona was recently named to Flavorwire’s list of the most literary colleges …

More from the magazine about Jonathan Lethem, Pomona’s Roy Edward Disney ’51 Professor in Creative Writing.

City views: Sagehens take fresh looks at San Francisco, Seattle

A pair of new tomes from Pomona people take fresh looks at two of the West Coast’s top cities. Latinos at the Golden Gate: Creating Community & Identity in San Francisco, by Pomona College Professor Tomás F. Summers Sandoval Jr., is “among the first books detailing the experiences of Latin American immigrants and their descendants in San Francisco over the course of a century and a half … ,” according to the web story. A state or two to the north, Bill Mullins ’68 has written Becoming Big League: Seattle, the Pilots and Stadium Politics. He tells the “story of Seattle’s relationship with major league baseball from the 1962 World’s Fair to the completion of the Kingdome in 1976″ focusing on “the acquisition and loss, after only one year, of the Seattle Pilots.”

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Scientific American touts Sagehen authors

allnatural1animalwise1Update on 07/24/13: Animal Wise by Virginia Morell ’71 was one of the top three picks in the SciAm Summer Reading Poll! Join Morell in a Google Hangout with the other two authors on Friday, July 26, at 9 a.m. PST.

The editors of Scientific American are offering readers a chance to vote for their favorites among 50 new science books that were recommended by the magazine’s staff and contributors, and a pair of Sagehen authors appear side by side on the online ballot. All Natural by Nathanael Johnson ’01 is right next to Animal Wise by Virginia Morell ’71. Fortunately, you are allowed to vote for up to three tomes.

More about Animal Wise
More about All Natural
Scientific American ballot

Hollywood and the White House

In his new book, The Leading Man: Hollywood and the Presidential Image, historian Burton Peretti ’82 explores how Tinseltown and the U.S. presidency are sometimes strange, sometimes highly compatible bedfellows that build a relationship based on mass communication. “It may seem surprising to claim that a president or other politician could cross over to the fantasy world of the movies, but it has happened,” Peretti writes in his introduction. “Such transformations have, in fact, been a major development in American political history.” So did Hollywood seek out presidents or did presidents seek out Hollywood? Peretti says the answer is yes and yes. The attraction was mutual. “Presidents were fascinated by the cultural power wielded by the movies, while moviemakers were drawn to the dramatic realm of power in the real world,” says Peretti.

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The Midwife’s Tale by Samuel Thomas ’91 mixes, history, fiction and murder mystery.

A determined midwife and her knife-wielding servant set out to solve a murder mystery in Samuel Thomas’ first novel, The Midwife’s Tale, released in January. Thomas, a historian and former professor focused on Reformation England, weaves together fact and fiction to tell the story of Bridget Hodgson, the midwife and her servant Martha, both real women living in 17th century England. Thomas (Pomona College Class of 1991) takes his readers into Bridget’s world during the siege of York, not only creating an exciting mystery story but also revealing the complex political and religious issues of the era. The Midwife’s Tale has been met with positive reviews and is the first release in what is to become a four part series. Thomas now resides in Ohio and teaches high school history in addition to writing novels. He talks midwives, mystery, writing and more in the abridged and edited interview below.

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The guide to South America’s hidden gem

. Romy Natalia Goldberg ’02 spent four years exploring Paraguay by foot, bus, train and VW camper van, gathering information for a travel guide recently released by Other Places Publishing. Along the way she found community and adventure in the South American nation’s busiest cities and its most remote spots, traveling through fields of sugar cane to stunning waterfalls and on flooded roads to vibrant local carnivals. Goldberg’s travel guide complements her website and blog on Paraguay, making her research efforts some of the most comprehensive for prospective visitors.

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“All Natural” living gets a closer look in new book from Nathanael Johnson ’01

Nathanael Johnson ’01, who wrote an interesting piece for PCM about C-sections a few issues back, has a new book out. The award-winning journalist who has written for Harper’s and produced stories for NPR says he spent his whole life preparing for  All Natural: A Skeptic’s Quest for Health and Happiness in An Age of Ecological Anxiety. Raised in an “all-natural” family, Johnson is drawn to the controversies over natural birth, diet, the environment and alternative medicine—all ultimately as a way to understand his family and early childhood. In All Natural he examines both the polarization and nuances involved in determining whether the natural approach to living really is best for humankind.

 What inspired the book?

 I grew up in a family that really believed that many of humanity’s attempts to protect itself from nature were misguided. For instance, my dad insisted that I go diaper free as a baby because he thought that the natural perfection of my developing pelvis would be deformed if I constantly had a big wad of absorbent material between my legs for two to three years. Part of me starts to scoff, but then I’d think, “That actually is a plausible hypothesis.” It’s hard to assess because stories in the popular press written about the all-natural constellation of concerns are usually utterly dismissive, or utterly credulous.

What was the most challenging aspect of writing it?

I had no idea how to organize it at first, and if I’d been lazy it would have just been a series of essays without any narrative through-line, and without any larger argument. So I resolved to build the book around the development of my thinking – to tell stories from my all-natural childhood, then bring the reader along as I fact-checked the family ideology. I spent days cutting chapters apart with scissors and moving the sections around. The process is like working on a big puzzle, but all the pieces are invisible – you have to hold them in your mind. And to complicate things even more, you can change the shape of any piece, or decide that it’s actually part of a different puzzle.

Were there are startling realizations during your research?

Lots! I was surprised to learn that childbirth is getting more dangerous in this country, and that more U.S. citizens are killed by unnecessary medical care than the numbers who die because they can’t get access to care. I was shocked and bemused by the way the demands of modern America have reshaped the bodies (and the mating habits) of pigs. I expected to find at least one blind spot in the orthodoxy about vaccination, because so many intelligent, admirable people are worried by shots, so I was amazed when every fear and theory about the dangers of inoculation led to scientific dead ends.

Are you working on any writing projects now?

I started keeping a journal when my daughter was born and I was struck by how often I was writing about her our adventures with the urban wildlife of San Francisco. So I’m playing with the idea of starting with these toddler’s-eye-view stories from my journal, and then researching our observations and writing down the most interesting bits to produce a father’s field guide to the urban ecosystems that so many of us walk through without ever noticing.



The Fire Chronicle: John Stephens ’94 on writing the second book in his fantasy trilogy

Veteran TV writer John Stephens’ (Pomona College Class of ’94) first foray into children’s fantasy books, The Emerald Atlas, was a hit in a hot publishing genre. Now he is back with The Fire Chronicle, the second in the Books of Beginning trilogy. Kirkus Reviews gave the new book, released this fall a starred review: “Irreverent humor and swashbuckling adventure collide in a fetching fantasy.”

Stephens’ stories follow three children who have been hidden by the wizard Stanislaus Pym at the Edgar Allan Poe Home for Hopeless and Incorrigible Orphans, but are soon discovered by their enemies. In Chronicle, Kate is chased 100 years into the past to a dangerous and enchanted New York City and left searching for her brother and sister, Michael and Emma, who are following clues into a hidden world to find the legendary book of fire.

Stephens ’94 is already well-established in television, where he spent 10 years as executive producer of Gossip Girl and a writer for Gilmore Girls and The O.C. And while The Emerald Atlas was highly sought after among publishers, Stephens found writing the follow-up brought a new set of challenges, as he describes in this abridged interview:

Is it easier or harder to write the second book in a trilogy? 

Writing the second book is both harder and easier. On the easier side, you already have your main characters. You know who they are, their strengths and weaknesses.  Also, in a trilogy such as this, you have a certain level of story momentum.  There are specific plot points which have to happen. Granted, you want to get to them by unexpected paths, but you know that sooner or later you have to get to them.  That said, writing the second is in many ways more difficult than the first. The first I wrote more or less in private, almost on a lark. There was no deadline, no one waiting for the book. I could write in my own time, and if the book ended up stinking, well, no one ever had to know.  With the second book, there was a deadline.  People were waiting.  The pressure was totally different.  When you write a first book that ‘works,’ it feels like you somehow managed to pull a rabbit out of your hat in the privacy of your own office. Writing the second book, you’re suddenly on stage in front of a thousand people, and there’s a worldwide rabbit shortage. And you’re naked.

Did you start The Fire Chronicle soon after the first book? How long did it take you to complete it? 

I started The Fire Chronicle when I was in the process of selling The Emerald Atlas, which in some ways meant going from one book right into the other. You have to understand, I was kind of terrified. I had managed to write one book, but to me, all that proved was that I could write one book. Who was to say I could write two, much less three? But I’d signed a contract promising three. I had this image where angry publishers would come to my house and take my dog when I failed to produce the books. From my first notes to the locked book was almost exactly two years. Two wonderful, wonderful panic-filled years.

Have you completed book three? What are you working on now?

I have not completed book three. I have done a rough outline and begun writing. Though right now, I’m taking a little bit of a break to direct a couple episodes of television. After two years alone in a room, I worried I was getting a little weird, and I felt it’d be a good idea to venture out into the world before I descend again into my hobbit hole.

–Sneha Abraham

More about John Stephens in PCM

Backroads scholar Dan Hickstein ’06 writes the guide to mountain biking in Colorado

During his Pomona College days, Dan Hickstein ’06 landed a prestigious Churchill Scholarship to study at Cambridge (where he earned his master’s in physics), co-authored articles for such publications as the Journal of the American Chemical Society and  completed two internships at the National Institutes of Health.

But Hickstein also knows how to let off some steam in the great outdoors, and he recently took a year off from pursuing his Ph.D. in chemical physics at the University of Colorado at Boulder to write The Mountain Biker’s Guide to Colorado, earning rave reviews on amazon. The result: 367 pages chock full o’ trail details and ratings, maps, photos and even tidbits on bike shops and places to eat from Fort Collins to Aspen.

As Hickstein told Colorado Daily:

“A week at a time I’d drive out to some part of Colorado and ride all the trails — and ride them all with a GPS. I wanted to have really good maps in the book. I would ride with digital camera and each time I got to a turn I’d make a point on the GPS and record the instructions as a little movie on my  camera. I spent hours going through the videos and GPS tracks. I really tried to be out there most every day, rain or shine, trying to get the trails ridden and get the research done.”




Susan Beilby Magee ’66 delves into the art and life of Holocaust survivor Kalman Aron

When Susan Beilby Magee ’66 was 6 years old, she posed for a portrait by Kalman Aron, a Holocaust survivor and fine artist who had come to Los Angeles after World War II and was barely eking out a living.

Fifty years later, Aron, a respected portrait and landscape artist, whose com- missioned subjects include Ronald Reagan, Henry Miller and André Previn, would ask Magee to write the story of his life.

The result, nearly 10 years in the making, is Into the Light: The Healing Art of Kalman Aron, co-published in October by Hard Press Editions and Posterity Press, Inc. in association with Hudson Hills Press. A compelling and graceful mix of first-person memoir, biography and commentary, the book is also a comprehensive retrospective of Aron’s work, encompassing 210 stunning color plates and 30 black-and-white images.

Aron and Magee saw each other only sporadically after her 1951 portrait sitting. Graduating in 1966 from Pomona with a B.A. in international relations, Magee became a leader in the women’s movement in Seattle. She was a White House Fellow, earned her M.B.A. at the Wharton School and held positions in domestic finance and economic development in the U.S. Treas- ury and Commerce departments during the Ford and Carter administrations.

“Pomona College,” Magee says, “gave me the foundation that a liberal arts education is supposed to give you. It was a springboard for me to explore and be curious about life.”

In the mid-1980s, Magee’s life took an unexpected turn. She became a certified hypnotherapist and meditation teacher, founded the Washington Circle of Master Healers and is involved with healing pro- grams at the Center for Prayer and Pilgrimage at the Washington National Cathedral.

Meditation would play a part, too, in Magee’s understanding of Aron’s story and how it informed his art. “If you ask Kalman, ‘Why did you paint that particular painting about that subject?,’ he’ll say, ‘I don’t know.’ His work is unconsciously done.

“Yet you can see in his work that he metabolized his experiences,” she says. “In Kalman’s early work, he was painting all of the desolation and lack of light and color that he saw. That was what was going on in- side him. As he regained texture and color in his life, his paintings exploded with it.

“I sat in silence for five months by myself with 10 groups of his paintings,” Magee says. “What was going on in his life at the time he painted them? What was he working out? What was the influence of the Holocaust? I depended on that quiet listening for the answers.”

It was during a mutual visit with Magee’s ailing mother that Aron asked Magee to write his story. (An interior decorator and art patron, Magee’s mother played a major role in Aron’s early success as a portrait painter. “She sent him all her clients,” Magee explains.)

Aron’s request came after seeing the 2002 film The Pianist. Based on a Jewish-Polish musician’s World War II memoir, the film, Magee says, had somehow given Aron the freedom to tell the story he had tried to forget.

“I wasn’t going to have anybody write it,” 88-year-old Aron says from his home in Los Angeles, “because I didn’t want to remember it.” Magee, he says, “did a good job.”

After an initial 18 hours of interviews, Magee’s research took her to the U.S. Holocaust Memorial Museum in Washington and to Europe, where she visited the sites of Aron’s childhood home in Riga and the camps where he was incarcerated in Poland, Germany and then-Czechoslovakia. Among the records that she found was the transit paper marking Aron’s arrival at Buchenwald.

From Prague to Salzburg, Magee followed Aron’s post-liberation route as he fled Russian Army custody. She went to Vienna, where the artist and his first wife lived before emigrating to the United States in 1949, and where Aron attended the Vienna Fine Arts Academy on a full scholarship after the war.

At the site of the Rumbula massacre where Aron’s mother was among 25,000 Jewish Latvians killed over two days in 1941, Magee placed a memorial stone honoring both of Aron’s parents.

Aron, who refuses to go back to Latvia, was uneasy about the trip. “I didn’t want her to go,” he says. “It was brave of her.”

Magee, who is not Jewish, believes, however, that she could not have written the book if not for her own “deep healing journey” as a victim of child abuse. “People who know me know the history of what happened to me,” she adds, “but this is the first time that I’ve written it in print.”

For Magee, one of Aron’s most revelatory pieces is a small, dark painting from the early 1950s called “Kalman Marching in the Camp.” In it, Aron is the skeletal central figure, flanked by smaller faces that appear alternately “wise, sad or terrorized.”

“I realized that those were all aspects of Kalman in the camps,” she says. “But the one that survived is the one upfront and center, the one who is utterly determined to survive, even though he has had to let go of most of his light.

“That’s what he would reclaim,” Magee says. “He wanted to live so that he could see the world and paint it.”