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THE LOG OF THE BRIDGETENDER
March, 2009
PUBLISHED BY
FRIENDS-IN-ART (FIA)
www.friendsinart.com
AN AFFILIATE OF THE
AMERICAN COUNCIL OF THE BLIND
Janiece Petersen Kent and Peter Altschul, Editors
FROM THE EDITORS:
This issue of the Log aims to bridge the gap between our annual conventions
with articles about writing a memoir, advocating for accessible spying, and a
poem warning us to beware of the false message the winter sun can
convey. More specifically, this issue contains:
PRESIDENT'S MESSAGE - By Nancy Pendegrap
The Story of a Book
- Carmella Broome
MEMOIR OF a COLLEGE
FRESHMAN: A BOOK REVIEW - Peter Altschul
Sometimes in the Winter
- Janiece Kent
The Spy Museum That
(Reluctantly) Came in from the Cold - Michael Byington
A Small, Successful
Government Program - George Will
Resources of Possible
Interest - Compiled by Peter Altschul
LIST OF FIA OFFICERS and
BOARD MEMBERS
LIST
OF COMMITTEE MEMBERS
MEMBERSHIP
FORM
Each article is separated by five asterisks (*****). Enjoy - and we
hope you will seriously consider drafting an article for the next issue of
the Log!
President's Message
By Nancy Pendegraph
Hello, everyone!
CONGRATULATIONS to Peter and Janiece for getting the second issue of the LOG
out this soon so that we will have our three issues within this year.
We're in the process of planning our program for this summer. Some have
expressed interest in another workshop with drama. Others have
mentioned jewelry-making. Lynn Hedl has spoken of offering a workshop
to initiate those interested in the joys of playing a Native American
flute. We also plan to offer our usual fare: the MIDI
workshop, the Prose/Poetry reading, and Writer's Workshop. We're also
organizing an Art Parlor; applications to enter are available at
www.friendsinart.com
And then, of course, there's the Showcase - where we're hoping to encourage a
greater diversity of performers. At one time we had almost all
classical performances; now, the pendulum has swung almost entirely to pop
and country. We would enjoy having poetry readings, or perhaps a short
skit. So please don't be shy - and encourage your friends throughout
ACB to audition. And if you are interested in singing in the chorus, be
sure we have your contact information and the part you want to sing.
In this log we celebrate a writer with a recently published memoir.
Look for a short story prize winner in the next issue.
Start making your plans to come to Orlando,
and by all means, don't hesitate to let us know your ideas. Greater
participation can only make us stronger.
*****
The Story of a Book
By Carmella Broome
Editor's note: Carmella Broome is a professional counselor and lives in South Carolina.
Her first book, "Carmella's "Quest, is available through
Amazon. More information can be found at
http://carmellasquest.livejournal.com
My first book, "Carmella's Quest: Taking on College Sight Unseen,"
is hot off the press. I'm still having a hard time believing it.
I've had several articles and essays published during the past few years, but
being able to say, "I recently had a book published," is a whole
different feeling.
I wrote the first pieces of the book in the summer of 1995, shortly after
completing my first year of college. I wasn't sure what I'd do with
them yet, and at the time, their ultimate destination wasn't my focus.
At that point, I was writing them for myself. Those first few essays
were kind of an extension or spin off of my usual habit of journaling.
I think I was still reeling from all the newness and trying to sort out various
experiences, emotions, and insights from recent months. There were some
particularly memorable moments I wanted to paint detailed word pictures of
while they were still pretty fresh in my mind.
At one point, I decided to just start jotting down memories from that year
when they came to me. Using a CCTV, I would write notes to jog my
memory about a certain experience or person on a slip of paper and then add
that note to a growing collection I kept in one of those brown manila
envelopes. When I was ready to do some book-related writing, I'd rifle
through the envelopes to land on a topic I might be in the mood to write
about.
To save myself some energy, I began dictating rough drafts into my tape
recorder. I'd take a look at what was to be included in each chapter
and would begin fleshing out these brief "memory joggers" into
stories that other people would be able to understand.
Attending college full-time didn't leave me much extra time or energy to work
on the manuscript. When I could find a few spare minutes, I continued
to focus on writing the parts of the story that interested me.
Inevitably, though, I had to go back and write the sections that were
"boring" as far as I was concerned. I had to just buckle down
and fill in, as Paul Harvey would say, "the rest of the
story." It was neat to see all the pieces coming together, though,
kind of like a puzzle. By 2000, I had a working first draft completed.
I knew then it was time to seek some solid feedback. I began sending
several chapters at a time to my favorite high school English teacher.
Sometimes, it would take several weeks or longer before she return
them. But return them she did with red pen marks noting mostly
punctuation and grammar errors. When my mother and I could find a few
moments during my visits home from graduate school, she would read me the
edits and I would make the changes in the copy I had on my computer.
Once my grad program was completed, I was focussed on passing two different
licensure exams, and finding my first job. I then became very focussed
on my career and establishing myself as a professional. I hadn't
forgotten the book and would read parts of it every now and then and think
about what I wanted to do with it but I didn't feel I had the time or energy
to begin the daunting process of approaching potential publishers.
I'd been receiving the "Writer" magazine on cassette for several
years. The articles made it sound as if getting published was often
just a matter of luck, even if you had a great book, and that lots of great
writing never so much as got looked at due to the volume of proposals and
manuscripts received. And if I did manage to land a publisher, it would
take forever to put out a book that had been hacked to pieces by an editor, and
I'd have to be responsible for all the publicity. However, I did pitch
the manuscript to a couple of publishing houses, and received polite
rejection letters. I considered self publishing which would allow me to
bypass all the headaches of finding a publisher. Self published books
have a reputation as not being good enough to be picked up by legitimate
publishers, though, and I wanted to avoid that stigma. I wanted an
actual publisher who would only agree to work with me because they liked the book
and thought it was good enough to be
published.
I was trying to decide on my next move when my driver mentioned that she'd
recently seen an article about a small publisher in the city I live in.
I learned through a Google search that Red Letter Press was interested in
helping new authors get quality work published. Not sure what to
expect, I emailed Bob Lamb, a company contact, a query letter and the first
several chapters of the book. I was prepared to wait weeks to hear
back, but Bob responded to my email within several days asking to see the
rest of the manuscript.
His prompt positive response caught me off guard. What? He was
interested in reading the rest of it? I had steeled myself for another
rejection. I spent a frantic weekend pouring over the book again,
trying to see it the way a new reader would see it, making a few changes, and
obsessing a lot over small stuff.
Within a matter of days after receiving the manuscript, Bob emailed
again. He said he was prepared to offer me a book contract. While
reviewing back issues of "The Writer," I kept reading stuff about
what I ought to include. I expressed my concerns to Bob. Suffice
it to say, Red Letter Press almost didn't become my publisher, but after many
discussions over several months, contracts were signed, and Bob recruited a
team of talented people he knew to help us with editing, formatting, and
interior design.
When we finally completed the editing process, Bob was pleased with
everything except my working title "Along Unfamiliar Paths."
During extensive brainstorming, I suggested "Cane and Class: My Story of
Boys, Books, and Blindness." Bob said that was too cutesy, and
suggested "Carmella
Conquers College:
A Blind Girl Comes of Age." I said both my boyfriend and I thought
it sounded too much like a porn title, and I didn't like "Blind
Girl." We finally compromised on the current title.
In July, 2008, I received a final draft to review. I was so sick of
reading and rereading the book I thought I'd scream. I changed the
voice on my speech synthesizer just to try to breathe a little life into it
and went through it page by page. I submitted a few final corrections,
and we made sure the Dedication, Readers' Note,
Acknowledgments, and About the Author pages were where
they needed to be. I updated the Afterword so that it would be as
current as possible. We picked out a cover and finally picked a picture
a former boyfriend had taken of me.
Once the editor submitted the final product to Bob, he deemed it "printer
ready." We decided to wait until after the Christmas holidays to
upload the book to the printing company Bob worked with. Our goal was
to have the first batch of copies available in February, 2009 at the South
Carolina Book Festival. While waiting for the book's first printing, I
created my first blog, set up a "Carmella's Quest" email account,
and began sending out announcements locally and nationally to blind, sighted,
and everyone in between.
I plan to record the book myself at the local NLS office. Using my
laptop and an ear bud to hear JAWS read the text, I will speak what I hear
into the recording equipment. I'm pretty excited about being able to
combine technologies so readers can listen to it being read by the
author. I'm also working to get it included in bookshare.org's collection.
Bob delivered an actual box of books to my apartment building on February 5,
2009. Finally holding a copy of "Carmella's Quest" in my hand
was the weirdest feeling. I had said I wouldn't believe it was all really
happening until that moment, but then, I still didn't believe it. I
flipped the pages, sniffed it to see if it smelled like a real book, and
enjoyed the feel of how heavy it was. Later that night, I autographed
my first copy to give to my boss and her husband who will be hosting my
launch party in March.
It has been quite a journey. If I'd known all that was going to be
involved, I might not have stuck with it all these years. As with so
many things in life, though, I didn't know what was around the bend and just
kept taking the next step. I'm excited to follow where this book leads
and am already thinking about starting work on a sequel.
*****
MEMOIR OF a COLLEGE FRESHMAN: A BOOK REVIEW
By Peter Altschul
Recently, I found an e-mail in my in-box from Carmella Broome announcing that
her book "Carmella's Quest: Taking on College Sight Unseen" was
about to be released by Red Letter Press, the book's publisher. I wrote
her a congratulatory e-mail offering to write a review of the book if she
would send me an advanced copy and write an article for the Log describing
her quest to become a published author. Below are my thoughts about the
book.
"Carmella's Quest" differs from the
"blind-person-does-good-after-experiencing-challenges" memoirs I
have read in three significant ways. The book focuses on her freshman
year in college rather than exploring an entire life. Carmella attended
North Greenville College (NGC), "a small, co-educational, liberal arts
institution affiliated with the South Carolina Baptist Convention"
instead of the larger and more secular northeast colleges and universities
featured in other memoirs. And finally, she was legally but not totally
blind during her freshman year while most of the other authors of this genre
were totally blind (the exception is Steve Kuusisto, whose "Planet of
the Blind" is my favorite memoir written by a person with a visual
impairment).
Carmella's charming book recounts her experiences as an NGC freshman: her
orientation to her surroundings; her interactions with well-meaning but
sometimes patronizing faculty, administrators, and fellow students; the
technology and other accommodations she used to assist her; and her web of
romantic relationships with male students. Her recounting of
conversations effectively chronicles the trajectory of these relationships
with people within the NGC community and her family. She also uses
dialogue effectively to educate us about her eye condition and the technology
she used. I empathized with her frustration and her indecision
concerning how best to advocate for her dignity when confronted with people
who, for example, applauded when she demonstrated her ability to unlock the
door of her room. I was intrigued with her description of the pecking
order of the NGC dining hall where the athletes and their friends ate in
"hell," the "holy rollers" ate in "heaven," and
the "in-betweeners" ate in "purgatory." And
finally, I roared with laughter when she described herself recording a
soft-porn message for a male friend's answering machine.
After finishing the book, I found myself with three wishes. I wish that
Carmella's major accomplishment of her freshman year had been inserted
chronologically instead of as a Prologue. I wish that she had briefly
described her eye condition earlier in the book so that I could better
connect with her early challenges on-campus. And finally, I wish she
had used her considerable gifts in nailing dialogues and describing her
surroundings, as well as her thoughts and feelings, to write about the major
changes that took place after her freshman year and before her
graduation. She alludes to these significant events only briefly in the
main body of the book and the Afterword: her leave of absence from NGC due to
medical issues; her receiving a guide dog; and her ultimate graduation.
I believe the book would pack a much harder punch if she focused more on
these events and less on her freshman year.
Having said that, I would recommend "Carmella's Quest" to students
with disabilities preparing to attend college, as well as their parents and
others interested in supporting them in their college quests. Her
honest recounting of the triumphs and frustrations of her freshman year will
support those preparing to take the college plunge.
*****
Sometimes in the Winter
By Janiece Kent
February 7, 2007
Just so you can't believe your eyes
Or your skin,
The sassy sun beams into morning windows,
Leaving an aura of heat
That you should mistrust.
Trusting means you grab the light coat,
Leave the gloves in the other coat's pockets,
And wait for the bus in ten-degree chill,
Cursing your notion
That the warm sun
Through that deceptive glass
Will warm your bod and bones.
Best you call the Weather number
Next time,
When your frost-bitten index finger again works right
*****
The Spy Museum That (Reluctantly) Came in from the Cold
By Michael Byington
When we as people with visual impairments go to an arts museum or other
public entertainment venue and find that it is not accessible to us, many of
us think about filing a complaint using the Americans with Disabilities Act
(ADA). How many of us actually do it though? Well, I was in
a group that actually did it, and this article describes what we did and the
results of our actions.
On August 4, 2004, three friends with visual impairments and I decided to
visit The Spy Museum. We did not tell the staff that we were coming in
advance, but expected to receive some accommodations to allow us to enjoy the
museum: it had opened in 2002, well after implementation of the ADA.
The first exhibit room into which we were ushered featured spy personas which
we were to read so that each of us could select a persona. Unfortunately,
all of this information was in fairly small print on museum walls.
Through interrogating museum staff, we learned that this information was not
available in large print, Braille, or on tape. We next were ushered
into a small theatre where a film was shown - without audio
description. After watching the film, we voiced our concerns to Bree
Hagan, Visitor Services Manager. She said that she was sorry, but that
no accommodations had been made for blind or low vision visitors. She
emphasized that the Spy
Museum was privately
funded, and not an entity of government. I acknowledged that this means
that the title of the ADA
which would apply would be Title III instead of Title II. I observed
that since the Museum opened in 2002, certain readily achievable
accommodations should have been made as a part of the initial museum and display
design. We offered to continue our tour in order to attempt to provide
suggestions to the museum (and possibly ADA
enforcement entities) with ideas about how accessibility might be achieved in
the future.
With the above understandings established, we began our trek through the
museum with Bree Hagan and a colleague serving as docents. I am
extremely glad that we continued our tour as both docents turned out to be
excellent despite having no training in this area. The use of a docent
is probably the best way to obtain access to about half of the museums
exhibits; for the other half, accommodations such as descriptive video;
representational models of items that could not be touched; limited access to
touch items that could be touched without damage; and information in Braille,
large print, and on tape would have provided much greater access.
After returning home, I was contacted by Anna Slafer, the museum's DIRECTOR
of EDUCATION. She assured us that the Spy Museum
was willing to work on better access. While we appreciated the call, we
decided to file a complaint with the Department of Justice (DOJ). In
the complaint submitted on August 14, 2004, we described the parts of the
Museum tour that we had found to be completely inaccessible and attempted to
provide constructive suggestions concerning how accessibility might be
enhanced. After receiving calls from DOJ investigators during the fall
of 2004, I heard nothing until the fall of 2008 when the DOJ and the Spy Museum
released their settlement agreement to the press.
While nothing is ever perfect or as complete as it should be, our complaint
really did lead to progress. Many of the suggestions we made are being
implemented. The museum is still asking for advanced notice when
patrons want accommodations so they can, for example, bring in a qualified
describer. Nonetheless, the four of us learned that the ADA could be harnessed
for good. Not only that, but the settlement also addresses the needs of
those with other disabilities. While I was not particularly concerned
that the restroom doors were quite heavy to open and could not tell if the
videos were captioned or not, the settlement stipulates that videos now will
not only be audio described, but also captioned for the deaf and hearing
impaired. Physical access issues such as that too-heavy restroom door
were also addressed.
After the settlement, one of my colleagues asked a Department of Justice
(DOJ) official what factors had caused the DOJ to choose to investigate this
particular complaint, as many more valid complaints are received than acted
upon. The answer was that our complaint was constructively filed with
ample suggestions for practical accommodations that could be
implemented. When we spy needless shortcomings during museum tours, we
need to expose our discoveries to the education department and sometimes file
those cogent complaints.
*****
A Small, Successful Government Program
By George Will Thursday, December 25, 2008
WASHINGTON -- In Winslow Homer's 1865 painting "The Veteran in a
New Field," a farmer, bathed in sunshine, his back to the viewer, his
Union uniform jacket cast on the ground, harvests wheat with a single-bladed
scythe. That tool was out of date, and Homer first depicted the farmer
wielding a more modern implement. Homer then painted over it, replacing
it with what evokes a timeless symbol of death -- the grim reaper's
scythe. The painting reminds viewers how much Civil War blood was shed,
as at Gettysburg,
in wheat fields.
Homer's painting is one of 40 works of art that the National Endowment for
Humanities is distributing, in 24-2you-36-inch reproductions, with teaching
guides, to all primary and secondary schools and libraries that ask for
them. About one-third of them already have done so, according to Bruce
Cole, the NEH''s chairman. So as Washington's dreariest year in decades
sags to an end -- a year in which trillion-dollar improvisations that
will debase the dollar have been bracketed by a stimulus that did not
stimulate and a rescue that will prolong automakers' drownings -- at
the end of this feast of folly, consider something rarer than rubies.
It is a 2008 government program that costs next to nothing -- $2.6
million this year; a rounding error in the smallest of the bailouts.
And "Picturing America" adds to the public stock of something
scarce -- understanding of the nation's past and present. The 40
works of art include some almost universally familiar ones -- John Singleton
Copley's 1768 portrait of a silversmith named Paul Revere; Emanuel Leutze's
1851 "Washington Crossing the Delaware"; Augustus Saint-Gaudens'
bronze relief sculpture "Robert Gould Shaw and the Fifty-fourth Regiment
Memorial" on Boston Common.
But "Picturing America" is not, Cole takes pains to insist,
"the government's 'top 40.'" Forty times 40 other selections of art
and architecture could just as effectively illustrate how visual works are
revealing records of the nation's history and culture, and how visual
stimulation can spark the synthesizing of information by students.
The colorful impressionism of Childe Hassam's flag-filled painting
"Allies Day, May 1917" captures America's waxing nationalism a
month after entry into World War I. And it makes all the more moving
the waning of hope captured in Dorothea Lange's 1936 photograph "Migrant
Mother." This haunting image of a destitute 32-year old pea
picker, a mother of seven, is a springboard into John Steinbeck's novel
"The Grapes of Wrath."
One of the 40 images in "Picturing America" is more timely than
Cole could have suspected when the project was launched in February. It
is a photograph of Manhattan's Chrysler Building. Built between 1926 and
1930 -- between the giddy ascent of the '20s stock market and the Crash
-- this art deco monument to the might of America's automobile industry is
decorated with motifs of machines and streamlining. There are winged
forms of a Chrysler radiator cap; an ornamental frieze replicates a band of
hubcaps. The stainless steel of the famous spire suggests the signature
of the automobile industry in its salad days -- chrome. ! understand
the animal spirits that drove New York's
skyscraper competition -- the Chrysler
Building was the world's tallest for
less than a year, until the Empire
State Building
was completed 202 feet higher -- is to understand an era. Two
eras, actually -- the one that built the building, and ours, which has
reasons to be reminded of the evanescence of seemingly solid supremacies.
After seven years of service, Cole, the longest-serving chairman in the
43-year history of the NEH, is leaving to head the American Revolution Center
at Valley Forge. America has thousands
of museums, including the Studebaker National Museum (South Bend, Ind.), the
Packard Museum (Dayton, Ohio) -- yes, Virginia, there was a time when
automobile companies were allowed to perish -- the Hammer Museum
(Haines, Alaska), the Mustard Museum (Mount Horeb, Wis.), and the Spam Museum
(Austin, Minn.) featuring the sort-of-meat, not the Internet annoyance.
There is, however, no museum devoted to the most important political event
that ever happened, here or anywhere else -- the American
Revolution. Cole says there will be one, at Valley
Forge. It will be built mostly by private money, for an
infinitesimally tiny fraction of the sum of public money currently being
lavished on corporations. Perhaps a subsequent iteration of
"Picturing America" will feature a thought-provoking photograph of
the gleaming towers that currently house, among other things, General Motors'
headquarters. Looming over Detroit's
moonscape desolation, the building is called the Renaissance Center.
Really.
Copyright - 2008 Salem
Web Network. All Rights Reserved.
*****
Resources of Possible Interest
BOOK OF POETRY
Handtype Press recently released "Suddenly Slow: Poems," a limited
edition chapbook that showcases 16 poems by the award-winning deaf-blind
poet, John Lee Clark. He was born deaf and became progressively blind
in early adolescence. Some of his poems deal directly with
deaf-blindness, while others are about broader topics. Among Clark's
accomplishments are: being the first member of the signing community, deaf or
deaf-blind, to be published in the prestigious magazine "Poetry;"
having a poem of his selected for and broadcast on the "Poem of the
Day" radio program on Martha Stewart; and winning a Best Sports Poem
prize from Kent State University. To order copies by mail, send a check
for $8 to John Lee Clark, 111 E. Kellogg boulevard., #3207, St. Paul, MN
55101. To order
online, visit www.handtype.com or www.amazon.com.
INSPIRATIONAL BOOK
"You Can, If You Think You Can" by Larry Johnson is a compact
how-to book based on the author's more than 27 years of conducting highly
successful motivational workshops. It offers hope, encouragement, motivation
and practical strategies to overcome adversity, rebuild self-esteem and
fulfill one's most cherished dream goals. It's printed in 14-point
double-spaced pages. The book is available from amazon.com for $10.75
plus shipping, or from the author for $10 plus $2.50 shipping. Mail
payment to Larry Johnson, 10863
Lake Path Dr., San Antonio, TX 78217.
SUPPORT FOR PERFORMERS WITH DISABILITIES
I.AM.PWD is a global civil rights campaign seeking equal employment
opportunities for artists and professionals with disabilities throughout the
entertainment and news media. Founded in 2008 by the Actors Equity
Association (AEA), American Federation of Television and Radio Artists
(AFTRA) and Screen Actors Guild (SAG), TriUnion Performers With Disabilities
Committee, I.AM.PWD is dedicated to ending the discrimination and exclusion
of performers and broadcasters with disabilities. I.AM.PWD is uniting
labor, industry, community and governmental allies in the fight to combat
continuing discrimination against people with disabilities. Visit
I.AM.PWD at www.IAMPWD.ORG.
At every year around this time, the OcuSource team is very pleased to
announce "Shared Visions 2009-2010", an exposition of works by
artists who are blind or legally blind.
On behalf of the Eye
Care Center
at the Southern California College of Optometry, OcuSource extends the
"Call for Artists" for this fifth annual juried art exhibit.
Submissions that are selected will be exhibited in the Eye Care Center for a period of one year, and
are available for purchase.
The deadline for entries is Wednesday, May 13, 2009.
For entry and application details please visit
http://www.sccoeyecare/com.news.html#sharedvisions and click on the links
"Call for Artists" and "Application Packet" in the
section "Shared Visions Art Exhibit 2009-2010 Call for
Entries". On the same page also enjoy information and recordings
about previous events.
Contact: Rebecca L. Kammer, O.D. Assistant Professor Chief,
MaryAnn Keverline Walls Low Vision Center Eye Care Center Southern California
College of Optometry Phone (714) 992-7865 SharedVisions@scco.edu
Attention artists and designers
The National Coalition for Disability Rights (NCDR) has partnered with www.logotournament.com
and is hosting an "ADA Watch" logo contest to better brand and
increase the visibility of our national advocacy initiative to advance
disability rights.
A cash prize is available and the winning design will help increase the
effectiveness of ADA Watch as we work towards access, inclusion and
opportunity for people with disabilities.
The contest is time-limited so help us quickly spread the word!
For more information, go to:
http://logotournament.com/contests/ada20%watch20%.org
*****
LIST OF FIA OFFICERS and BOARD MEMBERS
Nancy Pendegraph, President
2331 Poincianna Street
Huntsville, AL 35801
Ph. 256-539-5678
E-mail: nansong@knology.net
Lynn Hedl, Vice-President
521 Oxford Circle
Birmingham, AL 35209
Ph. 205-942-1987
E-mail: lhedl@bellsouth.net
Lisa Altschul, Recording Secretary
4317 Vermont Court
Columbia, MO
65203
Ph. 573-445-5564
E-mail: lwb6c9@mizzou.edu
Peter Altschul, Corresponding Secretary
4317 Vermont Court
Columbia, MO
65203
Ph. 573-445-5564
E-mail paltschul@centurytel.net
Arlo Monthei, Treasurer
1304 39th Street
Des Moines, IA 50311-2607
Ph. 515-277-0442
E-mail apmonthei@aol.com
Carrie Hooper, Board Member
601 Robinson Street
Elmira, NY 14904
Ph. 607-732-6788
E-mail hoot751@yahoo.com
Gordon Kent, Board Member
1629 Columbia Road, NW,
800
Washington, DC 20009
Ph. 202-332-9696
Email dbmusic@cybernex.net
Elsie Monthei, Board Member
1304 39th Street
Des Moines, Ia.
50311-2607
Ph. 515-277-0442
Email apmonthei@aol.com
Linda Braithwaite, Board Member
8 Hillside Avenue,
405
Salt Lake City, UT 84103
Ph. 801-532-5443
E-mail: kitten87@cisna.net
Janiece Kent, Board Member
1629 Columbia Road, NW,
Apt. 800
Washington, DC 20009
Ph. (202) 667-2747
E-mail: kentata@starpower.net
Mike Mandel, Immediate Past President
400 West 43 Street, Apt. 20L
New York, NY
10036
Ph. 212-868-0345
E-mail mjmandel@nyc.rr.com
*****
LIST OF COMMITTEE MEMBERS
Membership Committee: Amy Monthei, Chair; Elsie Monthei, Mike Mandel, and
Christie Killion
Scholarship Committee: Linda Braithwaite, Chair; Harvey Miller, Carrie
Hooper, and Gillie Presley
Exhibits Committee: Lynn
and Bill Hedl, co-Chairs; additional members are being sought from the
general FIA membership.
Visual Arts Committee: Elsie Monthei, Chair; Amy Monthei
Publications Committee: Peter Altschul and Janiece Kent, Co-Chairs; Amy
Monthei and Lynn Hedl
Constitution and Bylaws Committee: Gloria Broderick, Chair; Michael Byington
and Janiece Kent
Advocacy Committee: Michael Byington and Mike Mandel, Co-Chairs; Gloria
Broderick and Gordon Kent
Website Committee: Paulette Monthei, Chair; Amy Monthei, Lynn Hedl, and Roger
Petersen
Finance Committee: Arlo Monthei, Chair; Gordon Kent and Lisa Altschul
Program Committee: Lynn Hedl, Chair; all board members and officers.
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