The glaring disconnect between her family’s civil rights activism and their fortune, made by exploiting other Black people, likely played a role in Lorraine’s move towards Marxist politics, but Shields doesn’t explore it. By contrast, his depiction of her intellectual development is substantive, from her teenage readings in Harlem Renaissance literature through her discovery at the University of Wisconsin of theater, in particular Sean O’Casey’s Irish folk dramas. He also revisits a summer workshop in Mexico that cemented her commitment to social realism in art and her tenure as a journalist at the radical monthly Freedom after she dropped out of college.
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