success. i credit the national public library with my successes as a young reader and a young writer. my grandfather had 2 books on his shelf. one was king james version of the bible, the other was bull finch's mythology. it was that thick and on the mantle. i can see it as clearly as i am looking at them now. keu remember looking at the pictures and beginning to pick through some of the stories. and i learned to love those stories and if you read my books as a collection, and some people have, you will see that those 2 books inform most of my writings in subtle ways, not

overt, in subtle ways you can see those books and the influence that they have on my writing. daddy james would tell store reus about little girls named sara and pat and little boy named nollin and one he told in particular was one of my favorites. the 3 kids had a chore for the grandmother. take a basket of eggs to a neighbor's house. along the way they were confronted by a wolf, bear, snake, and fox. is they tricked that fox, and the bear and got them to the woods. it is a long, long summer and i don't have a contract, i said,

maybe i'll try to write something, never written a picture book before. i sat at the word processor, i'll write my grandfather books. all 16 pages. it is usually 6 to 7 pages long. i sent it to my editor anne swarts. she was at thow publishing books. at the time she was at dial. she was right out of college and a reader. she wrote my manuscripts.

she said it has possibility. there is a story in there but way too much going on. you have 3 kids, a grandmother, a grandfather, you got a bear, a snake, a wolf, and fox. a dog, cat, and a neighbor, way too much going on. if you'd like to rewrite it and shorten it some what and i'd be glad to look at it again. but that is not my grandfather's story. i can't do that. i thought i don't have a contract. i said i'll get rid of my brother and sister. [laughter]. and i'll keep myself. and i'll get rid of the wolf,

bear, and snake and keep the fox because i like his voice. i dare say a little girl like you should be simply terrified of me. whatever do they teach children in school these days? whatever you are, you sure think of heap of yourself as she skipped away from the fox leaving him to prove that he really was who he said he was. before long she came to a tree there were flowers and she picked wild flowers, this fox fled up beside her. prepare to be frightened. i am a fox because i have 6 luxurious furs. he leaned over for me to stoke

his back. it is soft. it feels just like rabbit's fur. you are not a fox, you are a rabbit all the time trying to fool me. did you hear her call me a rabbit? a mere bunny. i have you know young lady, i am a fox of rare breed. i am rated some of the finest hen houses from franklin to madison. i am a fox and you'll act accordingly. she put her hands on her hip and said [inaudible] she skipped away leaving the fox dumbfounded. got all the way through the woods tricking that fox. he had been reduced to sniffling and crying.

he was a pitiful mess. give me once last chance i am certain i can prove it. about that time [inaudible] came through the woods. you can see it a little ways in the distance. fox didn't notice a thing. he was begging to be believed. wait, wait here it is. i am a fox, he said yes, yes. sometimes he could run. it doesn't matter what i think anymore. it doesn't matter anymore. you have sharp teeth and can run fast. by the way he is looking all over for you.

if fox dashed towards the woods, not to worry, the hound dog knows who i am. i have been out running that old miserable mutt for years like i told you i am a fox. i know. i know. she turned toward ms. viola's with a basket of eggs. i rewrote it and sent it back and it was 7 pages long. that was the beginning of our relationship. we have done many picture books together. i did randy and brother wind which was one of jerry [inaudible] honor books. i have done my dearest apron.

the latest one is [inaudible] the women of [inaudible] bend. these are about the women that made those wonderful quilts all over the world. alabama, the poorest county in the depression. the women made these quilts because they needed to keep her children warm and would stack them to make a mattress. they covered the tables with them, they used them for their children to crawl on when they would go outside and have picnics. they used the quilts for everything, small ones and

large ones. now today, those quilts are going for 25,000 and more. it was my pleasure to go to g's bend and had the opportunity to quilt with them. my next picture book, i will share this with you and it is called never gotten. i would like to share it because this is something that had been in the process for about 20 years. i have been asking every west african that i have met, did you miss us? what i meant by that was are there stories in your culture that talk about the ones who

were taken away? did you tell stories? did you sing songs, poetry, any remnant of anything i could use to tell a story that comes from that side over the year where you looked and longed for us the way we looked and longed? in all those years, i did not find one story, didn't find one song. i am sure they are there, but i was unable to find them. i said okay, instead of whining and wondering, i'll do it myself. it is reason in free verse and about black smith, west african black smith. they were thought to be magicians.

1725, oh molly in the west africa. the drums -- be ware of sea birds, be ware of men that steal up the river through the great forest. and into the savannah lands. the moans and groans, hundreds, thousands stolen, we rarely speak the taken, i will this time because you have asked. come back, back, back, far edge of memory. we recall them and they are black smith, by all accounts a

master craftsman, worthy of praise, honored as a powerful magician. one who could speak the old names of the mother elements, earth, fire, water, wind. they would do as bidding, think. people sing praise songs. he was a gifted black smith. he is not remembered for that. he is best remembered for being a loving father. when his beloved wife died only after a year and embraced his newborn son, i will raise you myself. the elder women with argued against it saying you'll grow up wild without a gentle hand of a mother, a gentle hand to

guide him. must divide by custom, take another wife or give the baby to a mother who is childless. how will you feed the baby? you have no milk to give. dinka would not change his mind. the tortoise doesn't have milk to give but knows how to take care of its young. shamelessly he tied the baby on his back like a woman and headed for his forge at the place where 7 generations of his clan had once stood. he set his feet firmly on the ground and called to earth, takoma, thank you for yielding up the ore from your

underground storehouse of treasure. he lit the fire in his porch and called to fire, tokumbi thank you for making the ore plyable for i might shape it. thank you for setting the iron and making it strong. dinka fanned the bellows and the fire rows began and called to win, thank you for revising fire and keeping my brow cooled in the heat of the day and lifting his arms in praise, dinka cried come now elders behold my beloved son. mother earth appears first

ageless and forever beautiful, she kissed the baby and spoke softly, see how he grabs my finger. already strong like my mountain son. i a woman leaped into the air and swirled majestically in a flaming red. it is a sign he will be an inspired leader inspiring and courageous. she blew the child a warm kiss that made him cool. sang to the child in old lull hra byes. a boy has come and laughter has come. a son has come and beauty has come. then the child gurgled and replied even now i can hear the music in his voice.

suddenly wind spirits swished in turning and made the baby happily, we'll dance through the tall grass as you and i forever free. he is taken, he is taken aboard the ship and the elements go out and look for him and they do find him in, win finds him in south carolina in charleston, earth went looking for him. after earth fire, she could not get passed the fire. water follow it had ship and wind was able to go across and follow and find him. it was after many years that wind was able to find him.

i'll read that last part. [inaudible] all living in the americas, i saw the taken shackled to the land from sun up to sun down working tobacco, sugar cane and rice. i listen to them tell stories different but strangely familiar. now prayer rabbit. i stopped by kitchens and watched our women with cook yams, rice, oh kra and beans. our children had not forgotten. and i rejoice, led by the sound of a black smith's hammer, i

travel to charleston, south carolina, john shannon, black smith. a large european with red hair, comfortable. they were apprentices to all africans new and old, familiar yet fresh. i have sold another of your beautiful gape with the rice design, how did you learn to craft so well? a young man stepped into the light. i learned by reaching back with one hand and stretching forward with the other he said. people said you are a genius. my father dinka was the genius

replied the apprentice. he taught me what 7 generations have learned, i am the 8th. i had bound [inaudible] who answers to moses shannon. both mean safe water. he seems more confident now, wiser. playful mostafa. i had so much to tell him, he could not see me. he could not see me or hear me in this strange land. he touched the spotting smiles.

[inaudible] with birds, flowers and animals inspired. i turned to someone tell moses, shannon is going to free you one day. they can find joy, [inaudible] in my mind, i have always been free. free as the wind, thank you so much. [applause].

. >> san francisco. . >> san francisco is a sanctuary city. . >> san francisco is a sanctuary city. san francisco is committed to providing safe access to public services to our community. . >> about four years ago, [inaudible] look at how beautiful this was. there is our relationship to the planet. these regions are the wealthiest, the most powerful.

that really has impacted the planet. it is almost impossible now to go anywhere and had it really be completely dark. there are very few locations that you can find. that means our relationship to the sky, there is a way where we dominate the sky. we cannot see anything really. we are blinding ourselves in a way. >> you can look at the images, they are beautiful.

when i started four years ago, there was a conversation about environmental issues that was very different. this is not being talked about in the way it is now. . this has just been like an amazing growth. i anticipate the project to be something that opens a dialogue to public interest in these ideas. so the work is really made to be seen in this environment. it's been show in museum, in gallery, but never in a public setting. and it's kind of ideal for both myself and the works to have this real dialogue with the public not only in san francisco but people coming from all over the world.

>> since the dawn of electricity, that light is something that people feel connected to and inspired by. personally, there is space to keep that alive, just finding balance. the key is to find some balance.

>> around me what you see is an exhibition bien asian american women artist association. one of my favorites is cheers to muses which is a variety of sculpture, paintings and photographs in which the artists

not only show their own work but talk about the muses who inspired them. coming up we have a variety of exhibitions celebrating diversity and performances and every first thursday we have an opening in our main gallery. >> what kinds of organizations utilize your affordable space progr program? >> there's a huge range. last week des president clinton divas had a drag fashion show. the united states of asian american festival has events here every career as does the national career arts festival. in recent years homies organizing the empower youth had one of their first large scale neighborhood events. >> i think of it as multi-generational i see artists who are emerging and young and community members that may be from in college to, you know,

some of the old-timers that have been around a long time. i think that is special about this organization. >> it shows work by more than 1,000 bay area visual artists each year and collaborates through the programs with between 60 and 90 nonprofit cultural organizations each year. we host weekly figure drawing sessions every saturday morning. there is an accurate dojo with classes they nights a week and people can drop in. we have a free drop-in print maki making class. and print making workshops for adults a want to learn the craft. we have an open studio. >> how do you see it as distinguishing itself as a unique place and organization? >> i was just reading an interview with elizabeth streb

and she was talking about her vision for the spaces of the future being rather than being warehouse spaces, being a space where all kinds of participation on all levels is possible. i think this is already that space where artists at all levels of experience can be innovators, risk takers, learn about other cultures, find something unexpected and we are a true alternative space in that we are welcoming to everyone.