Hello OTM listeners.

Producer Leah Fetter here.

Last week, the MacArthur Foundation awarded their so-called genius grants to 25 thinkers in literature, music, science, and the arts.

One of the recipients was Rutgers professor and writer John Keene, who was recognized for his valuable work, quote,

exploring the impact of historical narratives on contemporary lives and reimagining the history of the Americas from the perspective of suppressed voices.

Back in 2015, Brooke spoke to Keane about his book counter-narratives,

and this week, in light of his recent recognition, we're bringing you that conversation.

It's one of our favorites from the archive.

Here's Brooke.

Keene conjures the voices of people at the margins of history and puts them at the center.

History never happens in isolation, says Keene. Every story

has a twin. I was very interested in histories that are totally hidden, totally buried, totally

obscure. Counter-narratives are working against historical master narratives, and they play overtly with the writing of history.

Keane locates these twin stories in the tale of a slave who blithely disregards his constraints,

in the spiritual and sexual union of two poets during the Harlem Renaissance,

in the experiences that motivate an African

dictator's nihilistic brutality. Keen is always challenging our assumptions. His characters

are not acted upon, or only acted upon, they are the actors. They choose to flee or fight or even in one story to very nearly fly.

So in Acrobatique, a real historical figure that we've really never, ever heard from, Ms. Lala, the subject of Edgar de Gaugh's famous painting, actually gets to describe her initial encounter

with the person who memorialized her.

And we get to encounter her.

Exactly.

...