I want to live in a country that understands Ebola. I want to live in a world that cares about those dying from this terrible disease in West Africa. Nobody should’ve had to watch me ride my bicycle out in the open as politicians fed the public false fears and misinformation. I want to live in an America that reaches out to aid workers as they return from West Africa and says, “We loved and stood by you when you were fighting this disease. We will love and stand by you now.”

Me too. From Kaci Hickox’s “Stop calling me ‘the Ebola nurse‘”.

I want to live in a country that understands Ebola. I want to live in a world that cares about those dying from this terrible disease in West Africa. Nobody should’ve had to watch me ride my bicycle out in the open as politicians fed the public false fears and misinformation. I want to live in an America that reaches out to aid workers as they return from West Africa and says, “We loved and stood by you when you were fighting this disease. We will love and stand by you now.”

Me too. From Kaci Hickox’s “Stop calling me ‘the Ebola nurse‘”.

As heart-wrenching as it is for me, I have been watching this obsessively as the places are so familiar to me.  Just imagine your city or town so deserted for such a reason.

Ishmael Beah, in “The West ignores the stories of Africans in the middle of the Ebola outbreak” writes bluntly about much I’ve been thinking, but afraid to say.  He begins:

It wasn’t surprising that Western journalists would react with doom-and-gloom when the Ebola outbreak began in West Africa. Or that the crisis would not be treated as a problem confronting all humanity — a force majeure — but as one of “those diseases” that afflict “those people” over there in Africa. Most Western media immediately fell into fear-mongering. Rarely did they tell the stories of Africans who survived Ebola, or meaningfully explore what it means to see your child or parent or other family member or friend be stricken with the disease. Where are the stories of the wrenching decisions of families forced to abandon loved ones or the bravery required to simply live as a human in conditions where everyone walks on the edge of suspicion?

And then he writes some hard truths.

Given our interconnected world, it’s no longer possible to excuse such treatment as a lack of access to the facts. So what is the explanation? To borrow the words of Ni­ger­ian novelist Chinua Achebe, “Quite simply it is the desire — one might indeed say the need — in Western psychology to set Africa up as a foil to Europe, as a place of negations at once remote and vaguely familiar, in comparison with which Europe’s own state of spiritual grace will be manifest.”

This thinking is so deeply entrenched in the minds of people in the West that it has become a reflex. Still, the ways in which Africans are portrayed as less human have not lost the power to shock. [b0ld is mine] Each new crisis, it seems, offers a platform for some to exercise their prejudices.

And

The hysteria is also fueling racism beyond the continent. In Germany, an African woman who recently traveled to Kenya — far from the affected countries — fell ill with a stomach virus at work; the entire building was locked down. In Brussels, an African man had a simple nosebleed at a shopping mall, and the store where it happened was sterilized. In Seoul, a bar put up a sign saying, “We apologize but due to the Ebola Virus we are not accepting Africans at the moment.” Here in the United States, each time I have been to a doctor’s office since the outbreak, I have noticed an anxious look on the faces of the assistants that dissipates only when I say that I haven’t been to my country recently.

And

For Western media, this is just another one of those stories about the “killer virus” and the “poor Africans” who must once again be saved and spoken for by Westerners. And, always, there is the most important question: Will the virus come to the United States or Europe?

And concludes:

If you are reading this and believe you do not think about us the ways I have described, ask yourself the following questions: When was the last time you saw, and took the time to read, a positive front-page article about an African country? Have you ever met someone from Africa and decided to tell her what you know about her country and her continent, even if you have never been there? Have you ever noticed yourself speaking slowly and using exaggerated gestures while talking to someone from Africa, assuming that he doesn’t understand English well?

This blog is a platform I normally reserve for the important issue of fashion in Sierra Leone, but this week, I’m struggling to find a fashion angle. Unless you’ve been living on mars, you will know that West Africa is suffering the worst ever outbreak of the world’s most deadly disease – Ebola. I traveled to Kenema district last week for an assignment to write about the outbreak. I live in Freetown and before leaving, the epidemic hadn’t really kicked off here. ‘EBOLA!’ (said with a loud voice and chuckle) was something that was happening in villages, places that didn’t affect the urban folk of Sierra Leone’s capital. I knew Kenema was a district suffering huge case numbers, but nothing prepared me for what I saw and heard in one of Sierra Leone’s most brutally affected areas.

From Human Tales of Ebola.

And here is a  New York Times video from one of the villages most affected.

Yet again Africa is in the news as the other, as a place of horror and misery.  So just a few reminders:

Ebola is not throughout Africa. You don’t need to worry when coming into contact with someone from the continent or someone who has been there recently. Africa is a big continent and Ebola is not everywhere.  In fact…

Ebola is currently in three West African countries:  Guinea, Liberia, and Sierra Leone. But…

Ebola is not an air-borne illness. You will not contract it by being in the same plane or auditorium or building as someone who has it or has come from one of the countries where it is prevalent. In fact…

you would need to be directly exposed to fluids from someone with the illness to be exposed. And that means that it is in the affected areas, in direct contact with those who have the illness, that you would be most at risk.  And that is just not true for those of us living in the United States. So stop worrying about getting it here. Instead worry…

that those in the affected areas do not have the basic health care we in the United States take for granted. And so while there is indeed not a cure for Ebola,…

with the sort of hospital care we in the US take for granted, treating the disease in early states, many who are dying would be saved.  But…

in the affected areas that sort of care is rare.

To learn more please read:

Stop Worrying About Ebola (And Start Worrying About What it Means)

As WHO Warns Ebola Death Toll is Underestimated, How Should Global Community Handle Dire Crisis?

Abina and the Important Men is a compelling and powerfully illustrated “graphic history” based on an 1876 court transcript of a West African woman named Abina, who was wrongfully enslaved and took her case to court. The book is a microhistory that does much more than simply depict an event in the past; it uses the power of illustration to convey important themes in world history and to reveal the processes by which history is made.

The above is from the publisher’s description of Trevor Getz and Liz Clarke’s Abina and the Important Men: A Graphic History  which has just been honored by the Africana Awards as one of its “2013 Best Books for Older Readers.” It is an outstanding presentation of the complexities of slavery in late 19th century West Africa as well as remarkably clear and thoughtful consideration of the difficult work of doing history. Additionally, it also brings to us one of the “silenced,” the many in history we just don’t learn about because there isn’t  enough of the primary source paper trail that we tend to rely on when piecing together the past.

Here’s what I just wrote about it on goodreads:

Outstanding. This book seems to have gone under-the-radar in the broader world and it shouldn’t have. I had seen something about it a while back and finally had the time to read it and it is fantastic. It is, as the subtitle indicates, a graphic history. That is, it is a history book and one unapologetically didactic. And as far as I know, pretty unique.

The book consists of several parts. The first is an illustrated “graphic history” (so described in the flap copy) based on the 1876 court transcript of an attempt by Abina, a young West African woman in what is now Ghana and was then termed the Gold Coast to convince the “important men” of the court (jury, judge, lawyers, etc) that she was a free woman not enslaved. It might seem to have been a simple case, but it was not. What the author and illustrator do remarkably well is articulate the complexity of the situation. That is, while slavery by then had been long ostensibly been outlawed in the British Empire (of which the Gold Coast was part) there had also been tacit overlooked versions of it being maintained by wealthy men who helped supply the palm oil then eagerly wanted in Europe. The graphic novel part of the book is moving, compelling, and riveting. The art is well done and artist and author have done an excellent job weaving together what they know with what they imagined about the case and Abina. ( The author says this isn’t historical fiction and I suppose it isn’t a novel, but he and the illustrator have had to imagine things so I’m not sure what it is then.)

But that isn’t all. it is followed by a facsimile of the transcript, and then a section titled “Historical Context” that provides a clear series of essays on a variety of relevant topic such as “The British Civilizing Mission,” “Slavery in the Gold Coast,” and “The Atlantic Slave Trade and Abolition.” Next comes a section titled “Reading Guide” that is fantastic. The author unpacks the many troubling aspects of attempting to consider the many aspects of the story. And so he considers “Whose Story is This?,” “Is this a ‘True’ Story?,” and “Is This ‘Authentic’ History?” Finally, there is a section on “Abina in the Classroom” with different ways of using it. While the focus is on college teaching, it is clearly accessible to high school students too. The book closes with excellent back matter including the preliminary sketches by the artist for the comic.

There are many, many reasons to find and read this book and to get it into the hands of teens, those who teach high school world history, and more. Not to mention it seems perfection for those needing to address Common Core issues.  (For those interested in classroom use I recommend exploring H-Net’s Abina Forum which has a number of posts related to its use in the colleget classroom.)

The most important reason for me is that this is a smart and beautifully done attempt to bring to life one of the silenced. As the author notes, history is told by use of material that we have about the past and too often we don’t have anything about so many because they did not leave paper trails. We happen to know about Abina because someone left a transcript of her court case. And because Getz made it his mission to get it out to us.

Highly, highly HIGHLY RECOMMENDED.