Crimson staff writer
Mollie S. Ames
The People Who Stay
The story of Harvard’s expansion into Allston has been told before, but often with the University at the center. Shifting the focus to the voices of Allston residents unearths a range of complex, often contradictory visions for the neighborhood’s future.
Beyond the Classroom, Lurking Fears and Conflicting Truths
Reopening Cambridge’s schools has surfaced tensions old and new — between public and private schools, between teachers and administrators, between vulnerable families and the representatives tasked with speaking on their behalf — challenging the district’s stated commitment to “equity and access.” And as plans continue to shift, some parents worry that those at greatest risk may ultimately have the least say in the process.
To Be a Harvard Man
Based in Mather House, “The Masc” seeks to provide a space for undergraduates to address questions about masculinity at Harvard. Founded by Mather House tutor David Jud and Unitarian Universalist Harvard chaplain Adam L. Dyer, “The Masc,” to Jud’s knowledge, is the first organization on campus created exclusively to explore masculinity, both in the context of Harvard and beyond.
Crafting a Feminist History at Art & Soul
From 1984 to 2001, Hoffman and Carole Ann Fer co-owned Clayground, a pottery studio that the Cambridge Women’s Commission refers to as a “socialistic pottery business.”
A Radical Weapon
As the heat swells, an orange haze consumes bras — and the curling pages of Playboy magazine — in a plume of rising smoke and a purge of female frustration.
Those Who Can Do, Teach
Harvard students interested in education may encounter an undergraduate community often focused on a particular vision of success — one that does not always afford visibility to the teaching profession.
The Kings and Queens of Radcliffe
The sisters’ film project, six years in the making, emerged from one of Gabrielle Burton’s experiences: She attended a drag show starring her friend’s husband, aka Virginia West, an award-winning drag queen in Columbus, Ohio.
One Hundred Years Later, Giving Credit Where It’s Due
Lucia Moholy’s now-iconic Bauhaus images were taken and used without her consent by the renowned architect Walter A. G. Gropius.