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Zoot Suit Reboot

Zoot Suit Reboot: Rose Portillo ’75 relives her Zoot Suit dream 40 years later.
Rose Portillo ’75 and co-star Daniel Valdez in a 1978 rehearsal of Zoot Suit and reunited in 2016 for the famous play’s revival.

Rose Portillo ’75 and co-star Daniel Valdez in a 1978 rehearsal of Zoot Suit (below) and reunited in 2016 for the famous play’s revival (above).

IN 1978, A YOUNG ACTOR fresh out of college got the role of her dreams. Rose Portillo ’75 was cast as Della Barrios in the then-new Chicano play Zoot Suit, written by one of her heroes, the father of Chicano theatre and founder of El Teatro Campesino, Luis Valdez.

Nearly four decades after her first audition for Zoot Suit, Portillo, now a lecturer in Pomona’s Theatre Department, found herself auditioning before Valdez one more time last year for the revival of this now-classic Chicano play, which ran from January to mid-March at the Mark Taper Forum.

“I auditioned in the same room I auditioned in 40 years ago with the same person I auditioned for 40 years ago and with the same person across the table from me from 40 years ago,” says Portillo. “So, you know, when I walked in the room, we just looked at each other and I said, ‘OK, I need to take a moment’—it’s very surreal.”

PCM-Spring2017web01_Page_23_Image_0002The play, written by Valdez, is based on the Sleepy Lagoon murder trial and the Zoot Suit Riots that occurred in early 1940s Los Angeles. The play tells the story of Henry Reyna and the 38th Street gang, who were tried and found guilty of murder, and their subsequent journey to freedom.

Zoot Suit premiered at the Mark Taper Forum in Los Angeles in April 1978, and sold out in two days. The play debuted on Broadway the following year, and was turned into a feature film in 1981. Portillo, who played Della Barrios, Reyna’s girlfriend, was in every production. In this current run of Zoot Suit, Portillo will play the role of Dolores, Reyna’s mother.

Portillo was first introduced to Chicano theatre as a theatre major here in the early 1970s. “While I was at Pomona, I saw ‘La Gran Carpa de los Rasquachis’ that had a weekend performance at the Mark Taper Forum. It was a Teatro Campesino play and it resonated so deeply with me—it was one of those moments that you don’t know what you’re missing until you see it. So, I got on a committee to bring Luis Valdez—to bring El Teatro Campesino—to campus.” Luckily for Portillo, the committee’s efforts were successful and Valdez paid a visit to Pomona soon after.

Portillo, who is also the director of Theatre for Young Audiences, a program of Pomona College’s Draper Center for Community Partnerships, started writing and performing plays while still in elementary school. She was cast in everything that was produced on campus—from Tennessee Williams to the Shakespeare canon. And Portillo’s parents, who lived in L.A.’s Silver Lake neighborhood, came to see all of her performances.

It was at Pomona that Portillo first came to identify as a Chicana—a term her parents balked at in an era when the word had negative connotations for older generations like her parents, who rarely talked in-depth about their heritage. “On Parents Day, the Chicano Studies Department had a program and they read the poem ‘Yo Soy Joaquin’ and other Chicano poetry. I turned to my father, and he was weeping, and it was never an issue after that.”

Reclaiming her identity and finding her love for Chicano theatre helped Portillo as she built her career—giving her a voice when the roles for Latinas were nothing more than one-dimensional stereotypes.

When Portillo was cast for the role of Della in Zoot Suit, her agent let her know she wouldn’t be able to take the role because she had already committed to another project, a film.

Portillo’s response to her agent: “I told her, ‘That movie is a movie, and this is a dream. You’re not stepping on my dream. This is my dream. Make it happen.’ And she did.”

And her parents were right there beside her. Once the play moved to Broadway, her parents went to New York to accompany her, with her mother staying longer to soak in the city.

Fast forward to 2017, and Portillo’s mother will be there on opening night of the revival of Zoot Suit, nearly four decades after it first premiered in the same theatre in Los Angeles. “She’s 84. A lot of our parents are gone, but she’s still around. I think she would’ve killed Luis [Valdez] if I didn’t get the role.”

For Portillo, the opportunity to be part of Zoot Suit in 2017 is just as special as it was in 1978. “It’s very rare that you get to live a full circle within a play, but with such a piece of history—to be able to be part of that history again, there are just no words for it,” she says.

“It was timely when it happened. To see Mexicans on stage in original theatre doing a play about a Mexican-American story was earth-shattering and groundbreaking. We sold out before we opened, and to come back in this particular moment of our national history makes it all the more important again.”

“And personally, it’s so historic for me, to be able to be this age and, at this point in my career, to be able to physically and viscerally revisit this—wearing different shoes and being older and wiser, it’s just… It was a dream the first time; it’s a dream the second time.”

Fact or Myth

The Shakespeare Garden

Some of these old tales about Pomona are actually true. Others are sheer fabrications or exaggerations. Still others remain mysteries. Can you tell which ones are fact, which are fiction, and which are unknown?

Huns to Hens1. Huns to Hens

Legend has it that Pomona got its unique mascot, the Sagehen, because of a bit of century-old political correctness and some creative cost-avoidance. The original Pomona mascot was far more warlike than the current flightless bird—the Huns. However, that name lost its luster when the U.S. entered World War I in 1917 and the popular epithet for the enemy became you-know-what. The teams had already invested in uniforms bearing the word “HUNS,” so to save money, the “U” was changed to an “E” and they became the “HENS.”

 


The Shakespeare Garden2. The Shakespeare Garden

Almost every student has heard the story that the border of Marston Quad is home to a garden containing plants mentioned in Shakespeare’s plays—pansies, fennel, willows and rosemary from Hamlet, violets and thyme from A Midsummer Night’s Dream, daffodils from A Winter’s Tale, daisies from Love’s Labour’s Lost, and so on. According to the tale, every plant mentioned in the Bard’s body of work is to be found somewhere in the garden.

 


Things That Go Bump3. Things That Go Bump

There are several persistent tales of ghosts on the Pomona campus. There’s Walter, the worker who fell off the roof of Bridges Auditorium during its construction and has haunted the place ever since, playing pranks with the lights and appearing in shadowy passageways. There’s Gwendolyn, who died in the old Claremont Hotel before it became Sumner Hall and occasionally can be seen or heard in its lower level or bell tower. And there’s Nila, the ghost of a young woman who reportedly wanders the attic and hallways of Seaver House.

 


The Flying Sailboat4. The Flying Sailboat

A classic prank that has become Pomona legend happened in 1978. The place was Frary Hall, or rather, the rafters of Frary Hall. In a scene worthy of a Magritte painting, students arriving for breakfast one morning found a 13-foot sailboat suspended in space high above the tables, with sails set and framed in Pomona blue.

 

 


The Duke and the Madonna5. The Duke and the Madonna

Is that Little Bridges behind John Wayne and Charles Coburn in the movie Trouble Along the Way? That, at least, is the story, which includes Wayne coming to campus in 1952 as Pomona played the role of a small Catholic college in the film. That visit is also remembered for a double-take moment when the sculpture of the flutist in the fountain in Lebus Court was covered by a fake statue of the Madonna.


The Borg and the Borg6. The Borg and the Borg

The story goes that the Borg of TV fame—the swarming, half-cybernetic zombies from Star Trek: The Next Generation who lived in a cube with warrens of maze-like hallways—got its name from Pomona’s Borg—otherwise known as the Oldenborg Center for Modern Languages and International Relations, also known for its warrens of maze-like hallways.

 

 


7. Winner and Still Champion…

Winner and Still Champion...

The Men’s Glee Club of 1932 took first place in the Pacific Southwest Glee Club Championship in San Diego, then traveled to St. Louis to compete in the first-ever National Championship, which they won. And since the first National Glee Club Championship also turned out to be the last National Glee Club Championship, Pomona can still lay claim to being the reigning champ.

 


The Roosevelt Shovel and Oak8. The Roosevelt Shovel and Oak

According to legend, the shovel that Pomona presidents bring out to break ground for new buildings was used by President Theodore Roosevelt to plant a California live oak on campus during his visit in 1903. Arriving at the Claremont train station, Roosevelt was transported by carriage to campus where he spoke to a throng of 7,000 to 8,000 people from a rostrum in front of Pearsons, later planting the tree, which survives to this day.


All Numbers Equal 479. All Numbers Equal 47

The 47 craze at Pomona started in 1964 when Donald Bentley, then Professor of Statistics, presented a paradoxical proof with the title, ”Why all numbers are equal to 47.” Two students in a summer program, Laurens “Laurie” Mets ’68 and Bruce Elgin ’68, then embarked upon their own tongue-in-cheek experiment to determine whether the number 47 occurred more often in nature than other numbers, and the rest is history.

 

 


Fact or Myth Answers.

Fact or Myth: Answers

Back to Fact or Myth.

1. This is at least partially a myth. The nickname “Sage Hen” appeared in The Student Life as early as 1913, when sports editor E.H. Spoor 1915 wrote, “Once again the Oxy Tiger wanders from his lair and comes to peaceful, peaceful Claremont with intent to murder. The Sage Hen will fight—on the field. On the campus she is entirely amicable.” “Hen” and “Hun” were used interchangeably until around 1918, when the latter disappeared, possibly because of its wartime connotations.

2. This is a great story, but it’s also a complete fabrication. Students have passed the story down to other students for many years, but there has never been a Shakespeare Garden on Pomona’s campus. No one knows how the myth got started.

3. Myth? Probably. But there are those who say they’ve experienced strange things in these buildings and become reluctant believers, so let’s brand it unknown. Some of the facts behind the stories, at least, might be true. We have been told that a record exists in Big Bridges’ archives mentioning an unnamed worker who was killed during construction, and that the L.A. Times reported a death at the old hotel that became Sumner. However, we’ve been unable to confirm either claim.

4. This story is factual and describes one of the most inventive and challenging pranks ever performed on the Pomona campus. Michael Brazil ’79, who was interviewed by PCM in 2002, was one of a group of friends who conceived the daring plan and carried it out.

5. All of this is true, including the Madonna, for which there is also photographic evidence.

6. Only one person really knows if this is true, and he isn’t talking, so let’s call it unknown. Joe Menosky ’79 reportedly lived in Oldenborg during his college years and played a role in creating the Borg as a writer for Star Trek: The Next Generation. To our knowledge, however, he has never confirmed or denied this claim.

7. This is all true, though the “reigning champion” part is a humorous take on an odd situation, not a serious claim.

8. The story about the shovel, so far as we can tell, is completely factual. The shovel has an inscription on the front of the handle noting that it was a gift from the Class of 1898, and another on the back noting that it was used by President Roosevelt on May 3, 1903. However, the tree part is false. The original Roosevelt tree died shortly after planting and was quietly replaced.

9. Professor Bentley was, indeed, known on campus for this tongue-in-cheek, fallacious proof that all numbers equal 47 (or any other number), and Mets and Elgin did start the 47 hunt that has continued to this day.

The Right Side of History

History can be complicated, and institutions that span centuries are lucky if they don’t find themselves on the wrong side of it on occasion. So I suppose it should come as no surprise that a lot of American colleges and universities are struggling today with the moral implications of their complicated pasts.

In 1838, the priests who ran the Jesuit college that eventually became Georgetown University sold 272 slaves to sugar plantations in Louisiana for the modern equivalent of $3.3 million. That now-infamous sale—which saved the institution at the cost of condemning 272 enslaved men, women and children to even greater suffering—illustrates the conundrum institutional leaders face today as they look back at times when their predecessors failed to rise above the ethical blind spots and moral outrages of their times.

The history of institutional involvement in slavery is, perhaps, the most extreme example of this. In his 2013 book, Ebony and Ivy, Craig Steven Wilder argues that in addition to church and state, America’s early colleges were “the third pillar of a civilization based on bondage.” In recent years, institutions like Harvard, Brown, Princeton and Emory have also investigated and publicly acknowledged their own historic ties to the slave trade.

Since you can’t change the past, institutions that find themselves on the wrong side of history have to find ways to atone for it today. Georgetown has announced a number of real and symbolic reparations, including a monument to the slaves who were sold, preferential admissions for their descendants and the renaming of buildings in their honor. Similarly, Yale recently decided to rename the residential college that has been, since its construction in 1933, named for John Calhoun, known as slavery’s most forceful political advocate.

If there’s a lesson to be learned from all this, it’s probably that it would be far better to avoid such situations to begin with. But how do you do that? It’s tempting to say: Just do the right thing, even when it’s hard. And in the final analysis, there’s probably no better advice to be found. But at the same time, you only have to look at today’s heated debates over a range of questions to see that culture and self-interest cloud our ethical vision, and people on both sides of an issue can feel morally righteous. Today, it’s almost impossible to imagine how anyone could have ever defended such a barbaric practice as slavery, and yet, we know that in the first half of the 19th century, the topic was angrily debated in this country and became so deeply divisive that it eventually led to civil war.

So what are the divisive issues of our own time that, at some point in the distant future, will seem so ethically obvious that people will wonder how on earth anyone could have gotten them wrong? And what will be the final verdict of history, once time has peeled away the layers of self-interest, political animosity and cultural bias that trouble our ethical sight today? These are questions we probably should all ask ourselves from time to time.

For my part, I think climate change is likely to top the list. Someday, I believe, when the disruptive realities of a warmer world are indisputable facts on the ground, the denial and inaction of many of today’s leaders will be viewed as criminal acts of willful blindness. Philosopher Miranda Fricker suggests that people of all eras should be judged according to “the best standards that were available to them at the time.” By that standard, I think climate deniers will have a lot to answer for someday.

My list doesn’t end there, however. It would also include such things as LGBT rights and the treatment of refugees and undocumented immigrants in this country—which I would argue are the civil rights issues of our time.

In all of these issues, I’m proud to say that the college that employs me to create this magazine puts its money and its people power where its values are. I feel confident that Pomona’s efforts to do the right thing—including its commitment to carbon neutrality by 2030, its sustained efforts on behalf of the LGBT community on our campus, and its leadership in the fight for the undocumented students known as “Dreamers”—will, on these issues, at least, put it very much on the right side of history.

Letter Box

Memories of Virginia Crosby

When our daughter Beatrice [Schraa ’06] was applying to college, she received a brochure saying Pomona professors often formed lifelong friendships with students. That was certainly true of Virginia. I took French 51 from her in the fall of 1968 and several classes after that, including a wonderful seminar on the French Revolution, co-taught with Burdette Poland. My wife, Louise [Schraa ’72], remembers her as one of the friendly and accessible professors whom everyone knew. We kept in touch after graduation, and I was working in Paris when she moved there and acquired the first in a series of tiny but exquisite and wonderfully located apartments. We saw her regularly after that, especially in Paris and then when we lived in Brussels.

For Beatrice, Virginia was literally a lifelong friend. Virginia was at her christening in Paris and, although she couldn’t attend Beatrice’s wedding earlier last year, we had lots of interested emails and calls with good wishes and requests for details and pictures. When she was only 95, Virginia was able to attend the wedding of our daughter Eugenia and spent the evening charming new people and dancing.

You might have thought she would be an honorary grandmother to our girls. Although they certainly knew her better than my mother, that was never the case. Rather, she was always, in the best professorial fashion, an adult friend, even when they were little tykes. Our whole family always looked forward to seeing Virginia, with her interest in all kinds of things, insightful conversation, good humor and fresh outlook, even in very old age. She avoided the old person’s tendency to reminisce, but very occasionally something would prompt a perfect anecdote, about the time she saw Hitler, about her one and only deer hunt, about her radio program with her husband, etc. Very occasionally, in the most discreet and subtle way, there came a nugget of advice or guidance as well. We traded articles, political comments and book recommendations with her until shortly before her death. I owed her a book report every year on the annual winner of the Prix Goncourt.

Everybody who knew Virginia remarks on what an extraordinary person she was and what a rich and varied path she had found through life. Louise, Eugenia, Beatrice and I all felt knowing her enriched our lives. We will miss her a great deal.

—David Schraa ’72

New York, N.Y.

***

Virginia and I articleI received my Pomona College Magazine yesterday, opened it this morning to the last page and came unglued to see Virginia Crosby’s beautiful smiling face.

All the memories of a long, wonderful friendship came flooding back. Virginia and I met when we were both completing our B.A. in French in the early ’60s. I was a single mom with two young sons and little money for a babysitter, so I would take them with me to Virginia’s house, and the two of us would study for exams—particularly those of our favorite professor, Leonard Pronko. I went on to earn a teaching credential in French at CGU, while Virginia got her Ph.D. and—as we all know—became a professor at Pomona.

We kept in contact over the many years, either in Claremont or Paris. In April of this year, I flew down to Ontario to visit friends and learned that Virginia had been diagnosed with brain cancer. I was able to visit her a few days before she died. As I was leaving after the second visit, I whispered good-bye in French. She whispered back in French, “I love you and am so proud of what you have done.” I will forever hold those last words in my memory, along with the many others of our 50-year friendship.

My thanks to Mary Schmich for her article.

—Réanne Hemingway-Douglass ’63

Anacortes, Wash.

***

Thank you to Mary Schmich ’75 for her article about Virginia Crosby, which I enjoyed and which inspired these memories.

In the fall of 1967, I tested into Mme. Crosby’s fourth-semester French class (French 62), which I survived with a generous B. However, I then had the audacity to sign up for her “Renaissance French Literature” class the next semester (spring ’68).  Here I was: (1) the only boy (as a callow 18-year-old, I wouldn’t say “man”); (2) the only non-language major (I did economics-math); (3) the least prepared student. However, it was obvious that I was there for the love of the subject, so again, she was generous with my grade.

Toward the end of the semester, an older student (I was still only 18) helped me buy a bottle of red wine, “La Bourgogne de Cucamonga.” I had a silver chalice; so to celebrate Rabelais, we brought this to class, quite against the rules. Mme. Crosby took us off campus across Harvard Ave. and we celebrated: one bottle for about 8 people didn’t get us too drunk. I know she got a chuckle out of the silver chalice.

A couple of years later, she invited my girlfriend and me to her home in Padua Hills to play our “Glory of Gabrieli” (E. Power Biggs) record on her husband’s state-of-the-art stereo system, and for a very pleasant afternoon on her deck overlooking the valley.

Around 1970, Zeta Chi Sigma voted Mme. Crosby as a member. Not a faculty advisor. Member. (At this same time, we also voted several women students as members.)  All of this was against the rules, but in the spirit of the times, we didn’t ask.

Did she share with you her story of how she got into writing radio soap-operas while living in a Chicago apartment with “a prostitute in the apartment above and an abortionist in the apartment below”?

I tried looking her up when I was in Claremont a few years ago, but was told that she wasn’t doing well.

Let me end with some verses from a poem we studied in her class (Ronsard: “A Cassandre”):

Las! voyez comme en peu d’espace,

Mignonne, elle a dessus la place

Las! las ses beautez laissé cheoir!

Ô vrayment marastre Nature,

Puis qu’une telle fleur ne dure

Que du matin jusques au soir!

Thank you for the article, and thanks for letting me share.

—Howard Hogan ’71

Owings, Md.

Anguished Father

I am an anguished father, white and privileged, who may lose his adopted, undocumented sons to deportation. My heart is shattered.

—David Lyman ’66

South Pasadena, Calif.

Shining Example

Thank you for the inspiring story in the summer 2016 PCM about Judge Halim Dhanidina, who has steadfastly exhibited the courage to promote the values and enforce the laws of our country in the face of the prejudice and fear engendered by the 9/11 attack on WTC. I’m sure I would not have his courage to do the same. He is a shining example of the values and vision we believe Pomona instills in all graduates. His life is (or should be) an inspiration to all Americans.

—Mike Hogan ‘69

Black Forest, Colo.

Another Cane

Another Cane“The Cane Mystery” article in the PCM summer 2016 issue was interesting and reminded me of the cane which I now have. The cane belonged to my father, Robert Boynton Dozier (1902–2001), Class of ’23.

The cane has the same dimensions as those mentioned in the article: 35 inches long, with a five-inch curved handle. Attached about 29 inches above the base is a 3/4–inch sterling band which is engraved: “R.B.D. ’23” (see photo at right).

As I recall the story my father told me many years ago, the freshmen class men beat the sophomore men in the Pole Rush competition. The challenge: Which team could have a man reach the top of the pole the quickest? He felt that the freshmen had done so well because they had a plan as to where the men would be positioned and who would climb where and when. The award was a cane. I do not know how many other men received and kept a cane.

My father really enjoyed having that cane as a special memento of Pomona College and kept it on the umbrella stand in his home. He also found it to be a useful walking aid when he was in his late 90s. I am pleased to have the cane in my living room, though I have not yet needed to use it.

—Bobbie Dozier Spurgin ’49

Carlsbad, Calif.

Memories of a Friend

I’m writing to share a few thoughts about the passing of my friend, Richard E. Persoff ‘49 (see Obits). These are perhaps of more interest to Pomona undergraduates than to alumni, partly because there are few of us left from the 1940s, and partly because the present students are now grappling with the same questions that Persoff faced in the aftermath of WWII: “Is liberal education, including the humanities, relevant to those who look forward to careers in technological fields?”

Persoff used his undergraduate work to learn how to think. And because of that, he was able to continue applying his mind in several areas. That luxury is as pertinent today as it was in the 1940s.

At Pomona, he studied hard and then played hard. Once, emerging from his books after midnight, he roared at me from across the room: “Andrews! Let’s go to the snow!” We then exited the world of academia temporarily for some improvised adventure, and then returned with renewed energy to our studies.

He could be critical, but outside his field, he was a champion of tolerance. He liked to strike up conversations with the immigrant workers of the local gravel pits and try to absorb their views on lives so different from ours. He befriended the college gardener, a family man who cared for the plants on campus with as much responsibility as an ancient shepherd might tend to his flock. Richard once visited the hobos who cooked their haphazard dinners on open fires in their “jungle” down by the railroad tracks. In our college days, the Great Depression and World War II were recent history. We knew songs from nations victimized by the war, as well as some older songs collected by the poet Carl Sandburg—songs that reflected man at odds with society, but whose protagonist could still recognize life’s gifts, for castaways often seek community in strange places.

One night, we decided to see what it was like to ride a freight train. We crouched by the tracks as locomotives came by. We felt the earth shake, heard the deafening mechanical sounds and felt the blast of the glowing firebox passing only a foot or so from us. We ran along next to the slow-moving train, hoping to grab hold somewhere and swing aloft into an empty box car. We quickly realized that if we leapt and missed, we might fall under the wheels, and we wisely postponed our plan indefinitely, but we never stopped searching for the answers of that odd life and the freedom that it symbolized

I was taken by surprise when good old Dick phoned me to say, “This is the last word you will have from me.” We had given each other the unqualified friendship that holds much of the world together. Thinking of him as I tried to adjust to the loss of his steadfast support, it occurred to me that Dick had finally gotten a grip on his freight train and was just riding off to another great adventure.

With appreciation of Pomona’s contributions, past and present…

—Chris Andrews ’50

Sequim, Wash.

Andrus Remembered

I was saddened to learn that my senior thesis advisor, Professor William Dewitt Andrus, had passed away (PCM fall 2016). Under his able direction, my thesis topic was a study of a unicellular algae, Dunaliella salina. This prepared me for my Ph.D. dissertation on photosynthesis at the University of Bern, Switzerland, in 1966. Prof. Andrus was a brilliant experimentalist and had a sense of humor.

—Katherine J. Jones ’61

Alpine, Calif.

Thank You

Last year a note in PCM suggested that we in the community that appreciate the quality and effort that this amazing publication delivers can say “thank you” by sending in a “voluntary subscription.” The latest example, featuring the Oxtoby years, is such a stunning keeper that I am finally moved to action. So, I wish to add my voice to the cheering throng—PCM is an enormous credit to Pomona. We are flattered and fortunate to be on the mailing list. Thank you!

—Joe Mygatt P’13

Stanford, Conn.

CORRECTION

Our apologies to Eric Myers ’80, whose name was misspelled in a class note in the fall 2016 issue of PCM. —Editor

Alumni, parents and friends are invited to email letters to pcm@pomona.edu or “snail-mail” them to Pomona College Magazine, 550 North College Ave., Claremont, CA 91711. Letters may be edited for length, style and clarity.

Staying Inspired

Sefa Aina

SEFA AINA IS UNABLE to sit still. When he thinks, he taps his fingers on his leg; when he listens, he nods along intently; when he speaks, his face breaks open in a smile as his hands paint vivid pictures in the air around him. Being around him is invigorating, but he asserts just the opposite: for Aina, being here, at Pomona College and surrounded by “students who actively want to take leftover dining hall food and feed it to people, or go mentor low-income kids, or spend their summer working for the PAYS program” is how he stays inspired.

A prominent activist and educator in the Asian American and Pacific Islander (AAPI) community, Aina came to Pomona from his alma mater, UCLA, where he obtained a bachelor’s degree in history and went on to serve as both a counselor and instructor at the UCLA Asian American Studies Center. He recalls his time at UCLA fondly, but remembers being taken aback as a new student by the beautiful buildings, nice statues, fancy food and proliferation of squirrels.

“It’s these sorts of things that make you feel a little awkward,” he explains. “You wonder whether or not you belong. [These universities are] beautiful, wonderful places, but some people aren’t going to feel comfortable or adjusted to the space. There’s privilege. There’s hummus! You don’t feel quite like you fit.”

It’s this feeling of not belonging that Aina sought to alleviate when he became Pomona’s director of the Asian American Resource Center (AARC), and that he continues to work against as the interim director of the Draper Center for Community Partnerships. Aina describes the space he sets out to create for students as one where they can step back from the pressures of school and society and just take a deep breath. “However, it’s important to me that we always become proactive,” he stresses.

Taking identity struggles and turning them into concrete action is at the core of Aina’s activism. During his time at UCLA, the AARC, and now the Draper Center, Aina has established and overseen countless outreach programs in the communities of both Los Angeles and the Inland Empire. In addition to his full-time work at the Draper Center, he also serves as the executive director of the research and advocacy nonprofit Empowering Pacific Islander Communities (EPIC), which breaks down the “AAPI” category and focuses on supporting Pacific Islanders specifically.

This may seem like a lot for one activist and educator to juggle, but it’s nothing for Aina. After all, he was selected from a pool of 25,000 candidates as one of 20 appointees to President Obama’s Advisory Commission on Asian American and Pacific Islanders, on which he served from 2010–2014. The experience, he says “was surreal. I’ve always considered myself someone who would stand outside the White House with a picket sign, and there I was eating the snacks,” he laughs.

At the same time as he was working with the AARC to support AAPI students and advance local social justice activism, Aina was also advising President Barack Obama on the ways his policies were impacting AAPI communities and how his administration could do better. “You have to be able to sustain yourself,” he admits—something he often reminds the budding student activists on Pomona’s campus.

Now that Donald Trump is in the White House, Aina asserts that our collective responsibility is to stay vigilant and active. “We need to understand that the things we do here impact the lives of people around the world,” he says with a firm gesture to the room at large. “The amount of waste and carbon pollution we emit here means that people on islands like Tuvalu, my people, are losing their homeland. They’re environmental refugees. We need to understand the connectedness of things, so that when policies come out, and you say, ‘Oh, that’s not relevant to me,’ you understand that it is. It’s you. It’s your neighbor. We have to always feel empathy and connection to people.”

And for Aina, there’s no better place to start than at home, in the communities. that surround Pomona’s campus. “I have always believed in the power and necessity of engagement, especially for college students. A lot of people applied to get into these desks and these seats,” he says.

Grinning, but eyes serious, he extends a pointing finger. “You got a seat. How are you going to make your seat matter for other people?”

Picture This

WINTER SUNSETWinter Sunset

Evening falls over Carnegie and Hahn halls and the City of Claremont
—photo by Jeff Hing

Faculty Books

What the Luck? Professor Gary Smith Explains the Role of Chance in Everyday Life.

WHAT THE LUCK?

Why does your favorite team have an outstanding season and then struggle to replicate its previous success? You’ll look for all sorts of reasons, but it’s likely just a matter of chance.

According to Professor of Economics Gary Smith, we are hardwired to make sense of the world and underestimate the role of luck in our daily lives. In his new book, What the Luck? The Surprising Role of Chance in Our Everyday Lives, Smith argues that understanding the role of luck through the statistical concept of regression to the mean is the key to realizing that exceptional success is often transitory.

“Whenever there is uncertainty, there is regression. It happens in parenting, education, sports, medicine, business, investing and more. Don’t be misled by chance and surprised by regression,” says Smith.

Smith’s vision for the book began with an academic paper more than 20 years ago. He noticed that sports commentators tend to believe that outstanding performances will continue season after season. When they don’t, the commentators attribute the fall-off to laziness, a lack of focus or a sophomore slump. Along with Teddy Schall ’99, Smith showed that baseball performances regress, in that the top players in any season tend to do not as well the season before or the season after.

What the Luck? lies on two main pillars that explain why even the most skilled and talented will regress toward a norm or midpoint. For example, a student with the ability to average 80 percent on her tests, could score 90 percent on a “lucky” day or a 70 percent on an off day.

Second, of those students who do score 90, most were lucky and therefore won’t do as well on another test of the same material. They will regress. It is a mistake to conclude that the student with the highest score is the best student in the class, and it is a mistake to conclude that she didn’t study as hard when she gets a somewhat lower score on a second test.

According to Smith, the same principles can be applied to professional sports, medicine and investments. When a team wins a championship, we conclude that it is the best team and expect it to keep winning championships. When it does not repeat, we assume that it’s the team’s fault—when it may have been lucky to win in the first place. A doctor who sees a worrisome medical test result assumes the patient is sick and prescribes a treatment. When the patient improves, the doctor assumes that the treatment worked—when the patients may not have been ill in the first place. When a stock goes into the Dow Jones Industrial Average because it has been doing well, investors assume that it will keep doing well. When it doesn’t, investors attribute it to the Curse of the Dow, when the stock may have been lucky before it entered the Dow.

“If instead, we recognize that chance may play a role, we are less likely to overreact,” Smith says, “The champion is not necessarily the best team; the patient’s reading does not necessarily imply disease; and the companies entering the Dow are not necessarily the best investments.”

A prolific writer, Smith is the author of eight textbooks, three trade books, and 80 academic papers. His research interests are financial markets, especially the stock market, and the application of statistical analysis to finance and sports.

—Patricia Zurita


A Gambler’s AnatomyAuthor/Professor Jonathan Lethem Discusses his Writing Process.

HIGH-STAKES WRITING

Bestselling author Professor Jonathan Lethem’s new novel, A Gambler’s Anatomy, is the story of a James Bond-esque international backgammon hustler who believes he is psychic but is sideswiped by the discovery of a tumor in his face. He is then forced to grapple with existential questions, like: Are gamblers being played by life? What if you’re telepathic, but it doesn’t do you any good?

Which raises another question: Why did Lethem, a critically acclaimed novelist and essayist, choose to write about backgammon and gambling?

“I always lean forward when someone in a story or a movie goes to the casino or steps up to the pool table or goes to the online poker game. So, I began by thinking in the simplest way, ‘I want to do that. I want to write a gambling story,’” says Lethem.

Given the high stakes, gambling serves as a rich metaphor for life, he says. “The backgammon board or any kind of gambling arena is a kind of microcosmic world, it intensifies your relationship to life. But it’s also an escape; it’s a bubble you go into; it’s outside of life. While you’re there, everything else disappears,” he says.

And ultimately, life—the house—always wins, he says.

Lethem, whose nine previous books include Motherless Brooklyn and The Fortress of Solitude, is known for his genre mixing and experimentation. He says this book is a more deliberate engagement with genre, classifying A Gambler’s Anatomy as a horror novel, though it doesn’t have the traditional scares. Lethem says he wanted to write a book where the reader can’t take his or her eyes off of the character’s night­marish descent, which is set in Berlin, Singapore and Berkeley.

Lethem’s writing process starts with what he calls “blundering around” and moves to dogged intention. Once he finds a voice that he likes, he works every day. But he says he is not concerned with hours or pages, so as much as with touching the project consistently. When Lethem gets stopped at a crossroads, he says, he will just sit there “staring at the page and tolerating the anxiety.” While so many other writers toss out lots of material and create alternate scenes that don’t end up in their books, Lethem treads carefully. “I try not to put a foot wrong. People sometimes ask you afterwards for the outtakes, asking, ‘Could we publish the deleted scenes?’ And I say, ‘I’m sorry, I don’t really generate those.’ If I’m turning in the wrong direction and it doesn’t please me to write in that mode, I’d rather sit and wait,” he says.

Born into a creative family, as a child Lethem thought about becoming a painter like his father, or a filmmaker or cartoonist. But his mother gave him a typewriter, “which was like ‘Go,’” he says. By the age of 14, the voracious reader announced he wanted to be a writer. His enjoyment of the craft hasn’t dimmed.

“When you begin to break down all the variations that are possible and all the implications of the decisions you’re making at a preconscious level when you write sentences, even in that very basic mode, you can never stop being fascinated by it. I like trying to stay an apprentice to the task.”

Lethem, the College’s Roy E. Disney Professor of Creative Writing, says he finds conversations in the classroom stimulating. “Seeing people trying to enact what they’re dreaming up, what they want to get on the page—trying to close that distance between what you visualize or what you hope your reader will experience and what actually lands on the page—is a very rich and very mysterious area of instability,” Lethem says.

—Sneha Abraham


NOT-S0-GOLDEN HISTORY Professor Char Miller Looks Below the Surface of California’s Ecological History.

NOT-SO-GOLDEN HISTORY

Professor Char Miller’s new book, Not So Golden State: Sustainability vs. the California Dream, is a collection of essays that examine California’s complex and sometimes contentious relationship between nature and humans.

Inspired by his many travels across California’s varied landscapes, and with chapters like “PetroLA,” “Razed Expectations,” and “Strawberry Fields Forever” among others, Miller’s essays give the reader a look into the effects that local, state and federal policies (both good and bad) have had on the natural environment, the impact of recreation on national forests, parks, wildlife and nature refuges, and current efforts to restore what California has lost or is losing.

Covering everything from water politics to wild fires riverbeds and sage and chaparral, Miller nudges the reader to look at the Golden State through a different lens, and Miller hopes, inspire readers to look at, treat and integrate with nature in ways that are beneficial to both humans and the natural environment. In “Razed Expectations,” Miller excoriates the U.S. Army of Engineers for gutting the Sepulveda Basin and the ensuing devastation left on the terrain. In “Water Fights,” he looks at the current battle the city of Claremont is waging to gain local control over water and in “Lesson Learned,” Miller looks at the politicization of wild fires and the cautionary insights gained and soon forgotten from the 2009 Station Fire that burned 160,000 acres of the Angeles National Forest.

“I hope that people reading this start to think about our relationship to nature – and it to us. How do we protect natural habitats, animals, resources, from us?”

“The central argument of the book is that we have agency within the larger world but our actions must be consistent with systems we have to protect the natural environment. The book is an effort to give people a roadmap to act with a kind of grace.”

On field trips with students, and hikes and travels with his wife and on his own, Miller says he gets curious about why things are the way they are and looks to the past to find answers: “My writing is sparked by encounters with a particular place and time in nature that led to thinking about that space in the past.”

A prolific writer, Miller regularly publishes op-eds, blog entries and books on the West and its environmental history.

“Writing is a way of inscribing myself in the landscape and helps make the landscape comprehensible.”

Miller sees his latest book as the end to a trilogy, of sorts, of two earlier collections of essays that are framed by his own westward journey that started out in San Antonio, Texas and takes him through Arizona and ultimately to Claremont, California.

“With Deep in the Heart of San Antonio: Land and Life in South Texas, I am figuring out what’s going on, and On The Edge: Water, Immigration, and Politics in the Southwest is a transitional book that takes me from San Antonio to California. Not So Golden State centers on California but looks east and raises the question about a new world, of where we’re going.”

—Carla Guerrero ’06

Slow Art

Dieric Bouts, Annunciation, J. Paul Getty Museum

Slow art isn’t a collection of aesthetic objects, as you might suppose; rather, it names a dynamic interaction between observer and observed. Artists can create the conditions for slow looking—think of James Turrell ’65 Skyspaces like Pomona’s “Dividing the Light.” But what about viewers? How can we do our share?

In a given year, more Americans visit art museums than attend any one professional sporting event. They want and expect to take pleasure, learn and share positive experiences with each other and perhaps with their children. Too often the result is otherwise. Despite massive arts education programs, many visitors still arrive at a museum feeling confused or disadvantaged about how to navigate the place—where to go first, what to look at in any given gallery, how to connect with what they find. (There is a particular disconnect for people 40 and under, on whom museums will increasingly rely for support.) As a Jeffersonian populist, I believe that everyone who passes through a gallery ought to feel enfranchised. Everybody, I believe, can have meaningful, maybe even transforming experiences looking at artworks. Whether or not we possess any particular talent, training, art education or technical vocabulary, we all bring the sole necessary requirements: a set of eyes and lived experience. The playing field is level. But how to look is not self-evident.

How? My answer will come as no surprise: pacing can make a world of difference. Magic may happen when you give yourself over to the process and attune yourself to the artwork, listen to what it asks from you. “Notice how with two or three lines I’ve made this thatched roof,” says a Rembrandt drawing. “Look at how the shadows under the plane trees turn purple,” says a Van Gogh landscape. Give a painting time to reveal itself, I’ve said, and it turns into a moving picture—the experience can be that eye-opening. Over time, you will perceive more and more elements of the image, things that you literally never saw before. However closely you attend, you will never absorb an object’s every visual detail or nuance. There will always remain more to see. In fact, this inexhaustibility is the sign of art itself.

How, then, to slow down? There are many possibilities, old-fashioned (docent tours, audio guides) and newfangled (smartphone apps, iPads on gallery walls, online learning sources like the Khan Academy). The scores of museum-goers who use them testify to a widespread need for guidance. Each of these options may work. Here, I limit my suggestions to rugged individuals, unwired visitors who follow neither audio tour nor app. Or better, take advantage of any external aid—rent an audio tour because you know nothing about Mughal art—but take time also to shut off the devices and linger.

1 / Believe that you already come equipped with everything you need—those eyes and that life experience. Trust that something surprising can come of the encounter, or simply that the experience might be fun.

2 / Don’t go alone. In another’s company you’ll have more stamina and notice more. (More than three people looking together may prove too many.) Best is a viewing partner who is open-minded, prepared to be patient, receptive to being taken aback. Also, somebody you feel free to disagree with. “Opposition,” said William Blake, “is true friendship.” Some of my best experiences have come out of seeing things differently from my companion.

3 / Remember that museums are like libraries. Why do people assume that they need to look at everything on display in a gallery when they would never pull every book off a shelf? Be selective. Once I interviewed the Metropolitan Museum of Art’s longtime director, Philippe de Montebello. I asked him about navigating art spaces. “My wife loves going to museums with me because I tell her: ‘In this room, we will look at X and Z.’” “If we happen not to be your spouse?” I asked. “Head first to the museum shop. The postcards will tell you which works the place prizes most highly. Second, say you’re in a gallery with many objects clustered together and another given its own vitrine. Choose the latter. Finally, whatever the guards say, you have to get up close.” I would add: start by scanning the room to see if anything calls out to you. Don’t even think about pausing before every object. One or two items in a gallery will be enough or more than enough. Don’t worry if your pick is not among the postcards; trust your taste.

4 / Grant your chosen object time—how much is tricky, I acknow­ledge. If, after a spell, nothing clicks, move on. This is a no-fault game. You are nobody’s student; there are no should’s. Eventually you and your companion will find something that you agree is intriguing, striking, ravishing, perplexing, disturbingly unfamiliar—what that thing is hardly matters.

5 / Now let yourself go. Get close, back up, shift from side to side, squint. Notice the surround: does the installation lighting create hot or dark spots unrelated to the artwork? Let yourself wonder about what might seem trivial. Why do Cézanne’s tables tilt up? Why do mountains look stylized in medieval depictions of deserts? What is that strange detail on the curving side of a glass vase, in a still lifepainting of flowers? Might it be light reflected from a four-paned window in the imaginary room? And why is a caterpillar munching on that leaf? Why does one window in an Edward Hopper painting behave differently from its neighbors? There is no telling where seemingly naïve questions may carry you. Remember that frustration is part and parcel of engaged looking; an artwork that doesn’t offer resistance may not offer much at all.

6 / Let images “tell you” how they want to be seen. In my experience, they will do so if you “listen to them” with patience.

7 / Don’t be in a hurry to speak. Start by letting your eyes wander freely. Then zero in on what seems meaningful, or looks to be part of a pattern, or perhaps is an anomaly. Toggle between focused and unfocused looking. Test what you’ve registered by closing your eyes and asking yourself what you recollect. Then look again to compare.

8/ Don’t screw yourself to the spot. A surefire recipe for distraction is to insist that you concentrate on some work for X minutes. You are sure to chafe. Genuine viewing is always a mix of engagement and withdrawal, and as I’ve said, some degree of boredom is integral to the experience of slow art.

Dieric Bouts, Annunciation, J. Paul Getty Museum

Dieric Bouts, Annunciation, J. Paul Getty Museum

9 / Say you are looking at a Renaissance painting of a sallow-faced woman whose reading has been interrupted by a man with Technicolor wings. It’s enough to begin by attending to the physical details: the crisp folds of the red linen hanging behind the bed, or the mosaic pattern on the floor, which seems to repeat the design of a stained glass window in the recess at the left. Under the bedchamber’s barrel vault a half lunette appears to float above the bed canopy—like a moon, or the book’s open clasp. It’s good to begin in mystery, because not knowing rouses curiosity. Questions prompted by the act of looking motivate us to learn about the image’s content and about its social, aesthetic, political, historical contexts. By contrast, front-loading information—in a slide lecture sandwiched in with a hundred other images—is likely to generate little interest and leave but a fleeting impression. So studies of museum education repeatedly conclude.

Now—and not before—is when the wall label should come into play: what Dieric Bouts painted between 1450 and 1455 is the Annunciation. Wondering what that refers to—I am assuming no specialized knowledge—brings your smartphone app into the picture. You learn that the Angel Gabriel has just told the Virgin Mary—that is, he has announced—that she is to be the mother of God (Luke 1, 31). His message accounts for her expression, a mix of bashfulness (she refuses to return the angel’s gaze), shock, humility and fear that she will not satisfy the job requirements. Perhaps Gabriel’s words also explain the placement of her hands, which simultaneously express astonishment and are about to meet in prayer. Pursuing your inquiry will teach you that the cloth bundled up at the left-hand corner—a gorgeous, realistic, seemingly gratuituous detail—also symbolizes the great event yet to unfold but already being prepared. This bundle is a visible, external double of Mary’s womb. But what of the single pillow propped up on the bed, square between Gabriel and Mary? Another symbol? On the Getty’s website you can see Bouts’ underdrawing, detect traces of animal glue seeping through the linen, and spot vermillion pigment, thanks to X-ray and ultraviolet analysis. Speed and distraction aside, there has never been a better time to look.

10 / You will get better with practice. You and your interlocutor will become comfortable with each other’s rhythms and styles. You will build up categories to scan for: color, composition, mood, atmosphere, form, depth, quality of brushstrokes—fine or broad, insistent or invisible; awkwardnesses, conventional narratives; stylistic changes over time; political controversies. Over time you will amass episodes of close looking and build a mental library of images, a backlog of aesthetic experiences that will serve as points of reference or comparison.

11 / You will experience a range of pleasures: eye-candy, puzzle-solving, meditative or spiritual moments. You will have fun.

 

… she thought she’d somehow only now learned how to look.

—Don DeLillo, The Body Artist

 

Arden Reed is the Arthur M. Dole and Fanny M. Dole Professor of English at Pomona College and author of the forthcoming book, Slow Art: The Experience of Looking, Sacred Images to James Turrell.

Bulletin Board

Winter Break Party in San Francisco

Winter Break Party in San Francisco

Winter Break Party in Los Angeles

Winter Break Party in Los Angeles

Winter Break Parties
20+ Years of Sagehen Spirit

Sagehens have been flocking to Winter Break Parties since at least 1994. In January, more than 700 alumni and guests braved winter weather in Chicago, Los Angeles, New York City, San Diego, San Francisco, Seattle and Washington, D.C., to take part in the 2017 edition of this favorite tradition.

Frank Albinder ’80, host of this year’s party in D.C., offers Sagehen friends who could not attend a peek into a party:

Where was the reception held? “In the Billiards Room of a historic D.C. apartment building. A friend of mine lives there and arranges for us to use the space every year. I’d say there were about 50 of us this year.”

And there were snacks? “Oh yes. The reception was a Costco special—all your favorite snacks from a company founded by a Pomona alumnus. Everything from giant cheese wedges to giant cookies, giant bags of chocolate, giant chips and salsa, and other large-sized treats.”

A few favorite memories of the evening? “Hearing news from the Pomona campus was great. It was also fun to discover that a recent Pomona alumna had moved into the same building where we held the party just a couple weeks before the reception. I told her she’s in charge next year.”

To be sure you hear about Winter Break Parties and other Pomona events near you, update your contact information at pomona.edu/alumniupdate.


Countdown to Alumni Weekend 2017

Campus is buzzing with prep­arations to celebrate this year’s reunion classes (and welcome alumni of all classes back to Claremont) for the party of the year: Alumni Weekend, April 27-30, 2017. Online registration is open through April 15 at pomona.edu/alumniweekend and on site during Alumni Weekend. Don’t miss this chance to tour new buildings, enjoy a Coop shake on the Quad, attend lectures and performances, catch up with friends and professors and slap Cecil a high five.


Hundreds of Sagehens Rally in Support of DACA-mented and Undocumented Students

Since President Oxtoby published his “Statement in Support of the DACA Program and our Undocumented Immigrant Students” in November, hundreds of Sagehen alumni and families have reached out to the College to support Pomona’s own DACA-mented and undocumented students.

Here are two ways you can make a difference in the lives of these students right now:

  • Make a contribution to the Student Emergency Grant Fund. Every dollar you donate goes directly to students who request funds, including students with emergency needs associated with immigration (immigration fees or legal resources, responding to family emergencies, etc.). To join the 296 members of the Pomona community who have supported this critical fund since November, visit pomona.edu/give and select “Student Emergency Grant Fund” from the designation menu.
  • If you have legal expertise related to immigration, join the resource network of Pomona alumni who are offering pro-bono legal services to students with urgent immigration-related needs. The network, comprised of nearly three dozen alumni so far, is coordinated by Dean of Students Miriam Feldblum; Paula Gonzalez ’95, an immigration lawyer based in San Diego; and Derek Ishikawa ’01 of Hirschfeld Kraemer LLP, the College’s legal counsel, which is also providing pro-bono services related to this community effort. To join the network, email RSVPStudentAffairs@pomona.edu and include (1) your contact information and current company/organization information, (2) your legal specialty or focus and (3) your availability.

Oldenborg CenterHappy 50th Birthday to Oldenborg!

When Oldenborg Center was built in 1966, it was believed to be the first facility of its kind to combine a language center, international house and coeducational residence in a single building. And with air conditioning, its own dining hall, two-room singles or four-person suites and a great immersion-like environment for language majors, Borgies like Alfredo Romero ’91 remember it this way: “You never had to leave, even if you could find your way out.” Learn more about the history of Oldenborg at pomona.edu/timeline/1960s/1966 and celebrate this benchmark for the Borg by sharing favorite photos and memories at facebook/groups/Sagehens.


BurgundyTravel/Study
May 30-June 10, 2017
Burgundy: The Cradle of the Crusades

Join John Sutton Miner Professor of History and Professor of Classics Ken Wolf on a walking tour of Burgundy. Burgundy, the east-central region of France so well-known for its food and wine, was also an incubator for two of the most distinctive features of the European Middle Ages: monasticism and crusade. This trip provides the perfect context for exploring “holy violence” in the Middle Ages and its implications for the 21st century.

For more information, please contact the Office of Alumni and Parent Engagement at (909) 621-8110.


Champions of Sagehen AthleticsAre You a Fan of Sagehen Athletics? Why Not Become a Champion?

With scholar-athletes earning SCIAC honors, setting program records and competing in NCAA Championships—among many other achievements across teams—it’s a great year to be a fan of Sagehen Athletics! And right now, as Pomona and Pitzer colleges increase their investments in our athletics community, it’s a perfect time to become a Champion of Sagehen Athletics.

The Champions of Sagehen Athletics, formed earlier this year, is a group of supporters committed to changing the game for scholar-athletes by giving a gift that goes directly to the athletics program or any one of Pomona-Pitzer’s 21 varsity teams. Every gift has an immediate and profound effect in the lives of scholar-athletes and coaches, supporting team travel, upgraded facilities, equipment and apparel, and other tools and resources that allow Sagehens to thrive in the competitive world of NCAA Division III intercollegiate athletics. Learn more about this exciting moment in Sagehen history and become a Champion today at sagehens.com/champions.


ideas@pomonaideas@Pomona LIVE RECAP: Climate Change & Cleantech Innovation Event

On February 1, more than 30 Sagehens gathered at the Los Angeles Cleantech Incubator (LACI) to think collectively and creatively about the challenges presented by climate change. A distinguished panel of alumni and faculty experts included Bowman Cutter, associate professor of economics at Pomona; Audrey Mayer ’94, associate professor at Michigan Technical University; Amanda Sabicer ’99, the evening’s host and vice president of Regional Energy Innovation Cluster at LACI; Matt Thompson ’96, president-elect of the Alumni Association Board; and Cameron Whiteman ’75, managing director at Vertum Partners. The Ideas@Pomona program curates the best content from around campus and the alumni community to ignite discussion, share ideas and highlight exciting areas of faculty research. Check out pomona.edu/lifelonglearning to find out more.