By Sonari Glinton-Los Angeles
Back in college, NPR reporter Sonari Glinton studied with the Nobel Laureate Elie Wiesel, who died this month at the age of 87. Here, Glinton reflects on Wiesel's profound influence on his life and work. Glinton also issues a challenge to young journalists at Youth Radio and beyond: tell courageous stories, including the ones others don't want to hear.
The following is republished with permission from NPR.
In the late 80s, when I was in the 5-6th grade, my school's librarian took a special interest in me. Actually she'd taken a special interest in a lot of us. Mrs. Newton was not only the librarian but the keeper of our little black minds. She'd play a Dick Gregory speech here or show a civil rights documentary there. One day our assignment was to do a book report. Ms. Newton pointed me toward the biography section. So being lazy, I picked out the thinnest book I could find. Barely a hundred pages, I thought. I can knock this out.
I barely had to skim it, I thought, and I'd get an A. The book was Night, by Elie Wiesel.
I was right about one thing. It was a quick read. That was it. I'd read stories with all kinds of protagonists, Laura Ingalls, Huck Finn, even the Diary of Anne Frank. Having read that book-and watched a few made-for-TV movies about the Holocaust-- made me think that I was already a bit of an expert on that experience.
But as I sat up reading, Night stirred something deeper in me. Maybe it was the simplicity of the story. Maybe it struck me because of how bookish and isolated and weird the young Eliezer was, just like me. He was concerned with books and theology. So was I.
Being Jewish made him vulnerable in a way that I understood. I knew as a black child in Chicago, I lived in an isolated community where I was deeply loved, but with the racial turmoil of the time, I also knew there were hostile forces all around me.
The more I saw myself in Eliezer, the more Night frightened me. It was the language, the simplicity of his prose...the immediacy of the horror, the distance he seemed to feel from himself. To say the book changed my life would be a cliché and not entirely true. If I could be so much like Elie, I reasoned, then the life I loved could be taken from me. The book made me aware. It not only made me aware that suffering existed elsewhere, but that my world was fragile as well. I imagined being removed from South Shore, from my church and school, from my family. The Holocaust felt very present. He made it personal. That stayed with me for years.
So when I was applying for college, and got a shiny brochure from Boston University, I remember turning the page and seeing Elie Wiesel's picture. That the author existed in the real world seemed magical.
That, and a few well-placed pictures of the crew team, and I'd decided. Boston University not only had Boston going for it, but also Elie Wiesel.
I realized during orientation that one doesn't just take a class with Elie Wiesel; HE picked you. And it was much easier to get in if you majored in Religion, Philosophy or something like that. So I switched majors. I entered BU to study communications, but changed to Religion and History. I put my name on the list and in my junior year, I got the note that I'd been accepted to take his course on Memory subtitled: Writers on Writing.
If I had expected this to be some easy survey course with a lightweight celebrity professor, the surprise would be mine. (He didn't have a real PhD, snarled some of my fellow pseudo intellectuals.) It was a graduate course with a syllabus that still remember (Letters to Young Poet, Rumi, Iphigenia in Tauris, Plato). Each of the 16 or so students had to present a book. I picked The Bluest Eye.
On the first day, Professor Wiesel breezed into class and quickly destroyed my ideas of what he'd be. Professor Wiesel doffed his jacket and rolled up his sleeves and immediately started with the jokes. Trim and stylish, with his perfectly knotted tie and lapel pin, which I assumed was for the French Medal of Freedom. He was goofy, cute and super funny, kind of like Jackie Mason on valium. Frequently while speaking, he shoved his wild tuft of hair to the side. I often puzzled over his hair. His vanity and arrogance were on full display. So was his sensitivity, generosity and humor.
"The relationship between teacher and student is sacred." Those are the only words I remember. He informed us that his office hours were mandatory. And we were expected to schedule our time with him. This would be a rigorous class. We would be graded on the quality of our participation, our presentation, and the final.
As the weeks went by, my time to present my book came up. "Why did you choose the black book?" I thought to myself. I was already the only black guy in the class. Why draw attention to it? I'd had enough of being the only black whatever at my predominately white Jesuit high school to be extremely wary. As I read Toni Morrison's debut novel, I was struck by how beautifully she captured the feelings of being not just black but dark. Unlike Night, this book took no imagination on my part. I knew it. I felt it. I'd lived it. Pecola Breedlove, the black protagonist who dreamed of getting blue eyes, was a girl I knew. Sometimes she was me.
When I began my presentation, looked down at my notes about skin color, race, blackness, I was overcome. I glanced at Wiesel, who looked at me with encouragement, and I immediately began to cry...not a Denzel Washington dignified Glory tear, but a full on Oprah "ugly cry".
What strikes me about that course was not that I cried. It was the environment he created in the class. It was a collective sense of empathy. You see, though Wiesel was a celebrity professor, he didn't act like a celebrity professor. If you could get over the Nobel Prize thing he was easy enough to chat up, especially as he waited for his car to the airport. Martha Hauptman, his assistant, played gatekeeper and earth mother. His office was a place I genuinely felt comfortable hanging out in...even if (actually especially if) he wasn't around.
During our first office hours, Professor Wiesel turned back to that moment in class. We spoke about race. This was pre Million Man March and OJ trial, but post LA riots. In my college youth, I was quick to want to "get beyond' race. I apologized for what I thought was an unmanly outburst in class. I admonished myself for "not being able to get past it."
I remember him leaning in and asking why I would want to forget. Memory, he said, wasn't just for Holocaust survivors. The people who ask us to forget are not our friends. Memory not only honors those we lost, but also gives us strength. In those office hours, over the years he gave me a shield, practical words and thoughts that would help me as a gay Nigerian Catholic journalist. He gave me tools that would aid me in an often hostile world. Over the years I found myself quoting Professor Wiesel to white people who want me to "get over race." "That's old." "It was a hundred years ago." He was emphatic: Nothing good comes of forgetting...remember so that my past doesn't become your future.
From his Noble Prize lecture:
Of course, we could try to forget the past. Why not? Is it not natural for a human being to repress what causes him pain, what causes him shame? Like the body, memory protects its wounds. When day breaks after a sleepless night, one's ghosts must withdraw; the dead are ordered back to their graves. But for the first time in history, we could not bury our dead. We bear their graves within ourselves.
For us, forgetting was never an option. Remembering is a noble and necessary act. The call of memory, the call to memory, reaches us from the very dawn of history. No commandment figures so frequently, so insistently, in the Bible. It is incumbent upon us to remember the good we have received, and the evil we have suffered.
So as a journalist, at times without noticing, I find myself helping others to remember or bear witness. I will not forget the victims of police torture I reported on, or LaFonso Rollins, who was falsely imprisoned for rape, until being exonerated in 2004 by DNA testing. I will not forget his eyes when that judgment was announced, and how -in that moment-- he looked to me for assurance. I remember the kids I covered who were being held in the Cook County Juvenile Temporary Detention Center, and where staff members sometimes paid them to fight. And when Trayvon Martin's parents went to Capitol Hill and the press corps was less than sensitive, I remember being sure to kneel down in front of his grieving parents with my microphone. Why in those moments would I want to forget?
In my personal life, though, remembering -and making others remember--the unfairness of racism is a harder choice. I am NPR's car reporter. For a normal gay man being a car reporter and living near Beverly Hills should be a dream come true. I am a black man. That means that driving exotic cars cars or testing cars can be dangerous. I have been stopped at least five times this year (July 5th most recently).
During the 2012 presidential campaign, I was stopped in Michigan, Indiana, Iowa, and Ohio. I have tried to shield my friends and coworkers from the fear, anger, and indignities I face on a daily basis. That futile exercise has cost me dearly. I realize that I have a responsibility to let people know about what affects me as well. But I also know that as a black man, that costs as well. Mentioning race to white Americans has almost never failed to cause me pain or to be attacked. (Recently, I said Britain might have a problem with race and a white friend called me an a**hole for suggesting it.) As I grow older, and feel the need to speak up more, I understand just a little the burden Elie Wiesel took on.
I last spoke with him during the aftermath of the Bernie Madoff scandal. As a producer for NPRs All Things Considered, I was determined to book him. I was working in Boston...I spoke to him briefly around the time of one of his lectures. As I rushed to remind him that I had been his student, about the courses I took (Writers on Writing, The Philosophy and Literature of Friendship among them), his tone lightened and his frail body stood a little taller. He smiled that broad, open smile of his with pride that one of his students had become a persistent journalist.
But, no, he was not going to speak to Robert Siegel about Madoff. He'd said all he had to say about Bernie Madoff--plus he'd been through much worse and so had others. His exasperation, sadness, and bemusement with the whole thing was evident. In his jokes it was implied, "I survived the Holocaust, broke nearly every bone in my body. And now there's this." Even that was said with a weary laugh.
And that's what I mourn when I think about him now. I mourn the man who taught me that in many ways, laughter is the greatest victory. I don't mourn the Laureate. I don't mourn the activist, the celebrity, or the intellectual, There will be plenty of eulogies and monuments to that man. I mourn the man who saw me struggling and tried to give me tools to survive. I'll mourn the man who let me know that those demanding that I forget, are not my friends. I mourn the teacher who made a solemn vow to me as a student in the 90s and kept it. I mourn the fact that with him gone, I'm now responsible for bearing witness. It saddens me that there's still so much to bear witness to.
NPR's Sonari Glinton is a frequent collaborator with Youth Radio and inspiration to the young reporters in our newsroom. Most recently, he brought his tremendous vision, creativity, and reporting to the multipart series, "Fast Food Scramble," a collaboration between Youth Radio and NPR. Looking back, he's also worked with us on some of our favorite stories from the archives, including one of Youth Radio's first hands-on science investigations, "Is There Gold In Them There 'Grillz.'"