A friend told me recently that during Covid, with no students and many beloved businesses closed, she finds Harvard Square so depressing that she no longer wants to go there. I have a different take.

It is true that early in the pandemic the Square was desolate.

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But since the Phase I reopening last summer, I’ve gone there almost every day.

After running on the Charles River, I often head to Henrietta’s Cafe for coffee, outdoors–yes, it’s freezing– but the wonderful staffers there have pretty much gotten me through the year. (Their number is sparser now: with limited seating and very few customers, several servers have been laid off, others work just one day a week instead of their previous five, and those who returned to college in the fall have not been brought back, at all). But those who are there graciously ask me about the book I’m working on, and even laugh at (some of) my jokes.

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A few weeks ago, I took a longer look –camera in hand. Yes, Dickson Brothers is closed, the “Dewey Cheatem and Howe” office of public radio duo” Click and Clack” is gone, as are tea shops, coffee shops, and stores like Staples that I’ve frequented for years.

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The Red House, once my favorite restaurant, still serves great food but mostly, since even before Covid, it’s a pot shop. Book stores-turned- clothing stores have been turned into banks; the former Au Bon Pain is now the Harvard Student Center; Legal Seafoods has been shuttered and sold; the iconic Out of Town News has closed, and the newstand that once stood on the corner, opposite, is now a milk bar.

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Walking around, I tried to imagine riding a bike into the Square or eating at Charlie’s Kitchen in a plastic hut.

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I was pleased to see that Cardullo’s has survived, along with national chain stores like CVS, Starbucks , Peets Coffee, and the Gap…

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At Citizens Bank , I was welcomed like a long lost friend. (In the summer, they cheered me on when I showed up with the pool noodle I carried for social distancing…or, perhaps, they were just overjoyed to see a customer–or any human face) .

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By now, the Charles Hotel has been remodelled–It still has its fancy modern exterior, but inside, the lobby has been divided into smaller, cozier rooms with a historic, bookish feel.

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The Coop is under construction; as is the block where Curious George, Deluxe Tea, Urban Outfitters and Dickson Brothers used to be.

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I found myself rushing to capture as much of the present as I could before it became the past. In the near-wreckage, I came across this mural signed “by Dennis.”

Around another corner, while I shot photos of pictures of the old Square superimposed on what will be walls of the new , a construction foreman yelled out, “You’re not allowed to do that!” I asked, “Why not?” He said, “Just kidding,” and insisted on taking my photo, with my phone (Covid be damned!), alongside a construction truck.

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After that, I spritzed on some hand sanitizer and headed home –feeling not depressed but, rather, elated…. by the people, by the energy, and by the beauty of the changing scene: its light, its lines, its colors, its shapes. Snapping photos, I had become part of that scene, experiencing my own transformation, excited to see what the world will look like after Covid, after Trump, after this difficult winter, as we create new futures for ourselves and for one another.

–Anita Harris is an award-winning writer, photographer and communications consultant based in Cambridge, MA.
-New Cambridge Observer is a publication of the Harris Communications Group, a PR and digital marketing firm, also in Cambridge, MA.

As a blogger and journalist, I’ve been appalled by recent attacks on the free press by the current administration.

This is not to say that I haven’t been a critic of the press myself: soon after college, I became a journalist by founding a weekly alternative newspaper called the Harrisburg Independent Press (yes, aka “HIP“)–partly in response to the traditional media’s failure to address many social, economic, and political issues of the day. (I’ll be writing more about HIP in the months to come; I’m now working on a book about my experience, there) .

After a year in Harrisburg, I wrote for two alternative newspapers: the Boston Phoenix and the Real Paper, in Cambridge.

For various reasons (mainly that neither paper would hire me full time or even put my name on the masthead–well, the RP already had a woman reporter–she covered “women’s stuff” ) I decided that in order to get anywhere, I needed some establishment credentials so went to New York, for journalism school at Columbia.

Upon graduation , I stayed in New York–working first for a fellow who was a bit of a maniac (he drooled when he yelled at me), then for the city’s major Muzak station. ( I won awards for documentaries including one from a radical feminism perspective on prostitution and pornography in New York–more to come on that, as well) a. After that, for five years, I covered health, science, technology, law and justice –and other topics!–for MacNeil/Lehrer (now the Newshour), of PBS.

Eventually, I returned to Boston to teach and write; subsequently became a communications consultant, author, blogger, etc. etc., which I’ve now been for more than 20 years.

...in July 1973, an alternative weekly newspaper in Boston called The Real Paper offered this for a lead headline: “Women Derelicts: To Be Old, Homeless and Drunk.”

The story said there were as many as 1,000 poor women living on the streets of Boston. The tales were disturbing. Ordinary women with names like Mary, Ann, and Masha, living in squalor in abandoned buildings; too sick from drinking to work; selling sexual favors for $1 in bars and alleys. And always looking for a place to sleep.

One doctor quoted by reporter Anita Harris was skeptical there was a problem at all. “You must have been talking to the women’s libbers,” he told Harris. Yet it turned out the city’s welfare department had quietly started a homeless women’s division.

This story gripped [Kip] Tiernan and wouldn’t let go. It shined a light on a strange truth in the upheaval of the early 1970s: Women were unequal to men even in poverty.

Ultimately, Tiernan founded the shelter, which became a model for many others, nationwide.

Because I had lived in New York for so many years, I had no idea, until last month, that my article had had such an important impact.

This past weekend, the Globe published “Making a Difference,” a letter to the editor in which I thanked Healy “for her remarkably well-researched piece on Rosie’s Place and for tracing its founding back 47 years to an article I wrote, which until now, I had no idea had profoundly impacted the lives of so many women.

“These days, with the free press under assault, Healy’s article provides yet more evidence of the power of the press to make the world a better place — simply by telling the truth. Thanks, Beth Healy, for paying it forward.”

I hope to continue pay it forward…That is, to make a difference through this blog, my books, and other writing. I also hope that the free press will survive…flourish, even…to give the truth a voice in these difficult times.

Anita Harris is an author, blogger and communications consultant based in Cambridge, MA. (She is not the British rock star, the Somerville School Committee member, or the Australian feminist writer).

New Cambridge Observer is a publication of the Harris Communications Group, an award-winning PR and digital marketing firm also based in Cambridge.

This past weekend, I was ecstatic to attend my first gallery opening since March, when shelter in place restrictions began. I was equally ecstatic that this was at Lacoste, in Concord; that it featured the work of a 20-something Newton native, female artist; and that. in keeping with the Lacoste tradition of sponsoring diverse and female artists the gallery will be donating 18 per cent of sales to the Black Lives Matter cause. And also: that I learned a lot.

The exhibit.
The exhibit, “In Response to George Ohr,” features the work of Newton, MA ceramicist Lily Fein, who. in January 2020, traveled to Louisiana and Mississippi to to study the work of George Ohr -an American ceramic artist and the self-proclaimed “Mad Potter of Biloxi.” ^[1] 

Ohr, born in 1857, died largely unknown in 1918. For decades, his pots sat in a garage behind his sons’ gas station in Biloxi.  But “his work is currently viewed as ground-breaking and a harbinger of the abstract sculpture and pottery that developed in the mid-20th century. His pieces are now relatively rare and highly coveted^,,” according to Wikipedia.

Fein writes that she “was attracted to how Ohr inverted the metaphor of the vessel–what one would expect to live in the inside of the hollow object manifests itself on the exterior of the pot. In turn, as much as a pot references the human body, Ohr put the insides of human bodies on the outside of his pots. He made the underlying connection between the vessel and the body overt: putting excremement in teacups and making vulva piggy banks. [This is Anita: Ew…sounds gross]. He was not shy, which posthumously gave other clay artists permission to play.”

Fein went South thinking that seeing Ohr’s work in the stacks at the New Orleans Museum of Art and at the Ohr-O’Keefe Museum in Biloxi would bring “revelations and new approaches” to her own work. As she moved through the stacks and and “made work” in the South, she realized that that she needed to claim her relationship to Ohr apart from him and the objects and persona he created–asserting her own narrative through repeated motifs and gestures–“in conversation with Ohr’s signature twists and folds, but continuing to change.”

Whereas Ohr used a pottery wheel in creating his vessels, Fein’s work begins with coiling the clay, and pinching it. She then alters the pieces and changes their form. Often pushing out from the inside of the vessel, creating rib-like features, she squeezes parts of the exterior to create folds, and sometimes uses a needle to methodically poke holes in the surface and create a new texture. “I am continually reminded of how Ohr claimed his clay gestures in his lifetime while I continue to develop my own, in mine, ” she writes.

Unaware of any of this upon entering the gallery, my friend Chrissie and I did not know quite what to make of Fein’s work–but found it beautiful, intriguing, and sometimes humorous. For example–I probably shouldn’t admit this– one vessel looked to me like someone’s legs sticking upside down out of a wine jug. Chrissy discovered an image of a corresponding Ohr vase on the site of the Museum of Metropolitan Art, below.

Lucy Lacoste, the gallery founder and owner, explains that “Ohr’s pots have a flamboyant sensuality often bordering on the erotic. They can have a visceral, direct sexuality, as can be seen in his famous money bank—the front is a vulva and the back, a breast.”

I couldn’t readily find an image of the money bank online–so will leave that to your imagination. But here’s one of Ohr’s pieces that one might perhaps, consider sensual/sexual:

Lacoste explains that “Lily Fein’s sensuality is intuitive, organic, implied—naturally reflecting the outer female sex organs.  This is evident in her Vulva series.  The edge is important. The clay reflects the way she touched and pinched the clay—as if it were skin. ” Link to video

In Fein’s show, I found one work especially interesting. It was roughly shaped, with shiny royal blue glaze on the inside–and a flat-finished outer surface that Fein said she had stuck many times with a needle–and was meant to look “bruised.”

Commitment to Diversity
Regarding the gallery’s commitment to diversity, Lacoste writes on her website:”Like many other businesses in the arts, we are searching for ways to fight the injustices that remain prevalent in this country.  

“Now more than ever, it’s important to go beyond saying we stand with oppressed communities. We must take measurable actions.  We do agree that if we are not part of the solution, we are part of the problem. 

“Out of regard for the important protests occurring across the country, we postponed the Fein opening June 21. To amplify voices less heard, Lily Fein and the Gallery are committing 18% of sales from this exhibition to the Boston chapter of the Black Lives Matters organization. 

“Our statement is brief out of respect for those with lived experiences who are leading the way to human rights for all.”

Earlier, Lacoste presented $2,500 to Emerson Hospital for its  COVID-19 Relief fund. The money was raised by the sale of work by Montana ceramic artists Beth Lo and Adrian Arleo and by Lucy Lacoste Gallery.

Numerous recent Lacoste exhibits have been devoted to the work of women from a multitude of backgrounds.

The current Lacoste show will be on view through June 27, 2020 at 25 Main St., Concord, MA. Link to Website

–Anita M. Harris
Anita M. Harris is a writer, photographer and communications consultant based in Cambridge, MA.

New Cambridge Observer is a publication of the Harris Communications Group, also in Cambridge.