The New Yorker Radio Hour: A Lakota Playwright’s Take on Thanksgiving; Plus, Ayelet Waldman on Quilting to Stay Sane

Release Date: November 29, 2024
Host: David Remnick
Produced by: WNYC Studios and The New Yorker
Episode Length: Approximately 26 minutes

1. A Lakota Playwright’s Take on Thanksgiving

Guest: Larissa Fasthorse
Timestamp: [02:16] – [15:30]

David Remnick opens the episode by introducing Larissa Fasthorse, the only Native American woman to have a play produced on Broadway. Fasthorse discusses her groundbreaking work, "The Thanksgiving Play," a satirical comedy that explores the disparities between the traditional narrative of Thanksgiving and the often-overlooked Native American perspective.

Background and Personal Journey

Fasthorse shares her personal history, growing up in South Dakota with Lakota heritage but being adopted into a white family. This bicultural upbringing instilled in her a deep awareness of her indigenous identity while simultaneously immersing her in predominantly white cultural settings. She reflects, “I was always raised very aware of my Lakota identity and my Lakota culture,” emphasizing the duality that shapes her unique perspective.

Influence of Ballet on Playwriting

Fasthorse attributes much of her discipline and work ethic to her background in classical ballet. She explains, “My ballet background is hugely influential in my work as a playwright,” highlighting how the rigorous training in ballet translates into her meticulous approach to writing and staging her plays. This foundation allows her to incorporate movement-based acting and non-verbal storytelling effectively, as seen in "The Thanksgiving Play."

Exploring Contemporary Indigenous Experiences

“The Thanksgiving Play” delves into the concept of performative wokeness among white liberals attempting to navigate and represent Native American culture. Fasthorse emphasizes that the play is a reflection of current societal dynamics, aiming to hold a mirror to audiences who are often well-meaning yet inadvertently perpetuate stereotypes. She notes, “I wanted to make sure that these people... are people of today and not someone you can look at.”

Challenges in Casting and Representation

Fasthorse discusses the complexities of casting indigenous roles in American theater. She shares her frustrations with the rigid casting guidelines that prevent non-white actors from playing white roles and vice versa, stating, “We have to do this whole song and dance of I kind of try to figure it out by chit chat,” highlighting the ongoing struggle for authentic representation.

Audience Reception and Impact

While acknowledging that some audience members may find the play’s satire challenging, Fasthorse celebrates the overwhelmingly positive and interactive responses. She recalls instances where audiences became so engaged that they extended the performance by several minutes through active participation, illustrating the play’s resonance and effectiveness in sparking conversation.

Land Acknowledgments and Reparation

Fasthorse addresses the importance of land acknowledgments in theater, advocating that recognizing the indigenous lands upon which performances occur is just the first step toward meaningful reparation. She asserts, “Land acknowledgement is a step. So it's the first step of many steps toward reparation.”

Notable Quotes:

• [05:03] Larissa Fasthorse: “There's a lot of movement based acting... without using text or very little text and a lot of movement and gesture.”
• [06:21] Fasthorse: “So you have to pick one. And I chose artist.”
• [12:00] Fasthorse: “It's exhausting... I can't imagine what it would be like to just like, for a white male playwright.”

2. Ayelet Waldman on Quilting to Stay Sane

Guest: Ayelet Waldman
Timestamp: [17:08] – [26:32]

In the second segment, David Remnick shifts focus to novelist and essayist Ayelet Waldman, who shares her transformative journey into quilting as a coping mechanism for managing stress and maintaining mental well-being.

The Quilting Revelation

Waldman recounts a pivotal moment following a traumatic event on October 7th, which led her to seek solace in quilting. “[...] every waking hour for months, I was quilting,” she explains, describing how the repetitive and tactile nature of quilting provided a refuge from her distressing thoughts.

Neurological Insights into Quilting

Waldman delves into the science behind why quilting can be so therapeutic. She discusses concepts like bilateral brain activity and the default mode network, explaining how the rhythmic and creative aspects of quilting help relax the brain and provide a sense of accomplishment. She states, “Quilting is a very bilateral activity because you're using both your hands... it induces a kind of comfortable feeling.”

Comparison to Psychedelic Therapy

Drawing parallels to her previous work on microdosing LSD, Waldman highlights how both quilting and psychedelics influence the brain's default mode network. [25:02] She remarks, “What psychedelics do is push your default mode network off the track. And having your default mode network veer off into a new and different direction can be really productive.” Unlike psychedelics, quilting offers a legal and hands-on approach to achieving similar neurological benefits.

Practical Benefits and Community Impact

Waldman emphasizes that quilting not only aids in personal mental health but also fosters community and shared creativity. Her extensive quilting sessions became a daily ritual that allowed her to manage anxiety and maintain a sense of control amidst chaos. She adds, “I was still very much involved and invested in what was going on, but somehow I could tolerate it while I was using my hands.”

Integration into Daily Life

Reflecting on her quilting practice, Waldman notes a shift from excessive time spent online to a more tactile and fulfilling activity. “[...] the physical act of wasting time for me is identical to the physical act of working,” she observes, underscoring how quilting became an essential part of her routine and mental health strategy.

Notable Quotes:

• [18:04] Ayelet Waldman: “From literally that moment. Every waking hour for months, I was quilting.”
• [22:27] Waldman: “The cutting table, she talked with producer Jeffrey Masters, and he's also a recent convert now, going back to last year.”
• [25:02] Waldman: “What psychedelics do is push your default mode network off the track. And having your default mode network veer off into a new and different direction can be really productive.”

Conclusion

David Remnick wraps up the episode by reflecting on the profound insights shared by both Larissa Fasthorse and Ayelet Waldman. The discussions highlight the intersection of art, culture, and personal well-being, offering listeners both a critical perspective on representation in the arts and practical strategies for mental health.

For those interested in delving deeper, Ayelet Waldman's essay "Piecing for Cover" is available at newyorker.com, providing an in-depth exploration of quilting as a mental health tool.

Credits:
Produced by Max Bolton, Adam Howard, David Krasnow, Jeffrey Masters, Louis Mitchell, Jared Paul, and Ursula Summer.
Guidance from Emily Botine and assistance from Michael May, David Gable, Alex Barish, Victor Guan, and Alejandra Deckett.
Supported by the Cherina Endowment Fund.

Disclaimer: Advertisements and non-content sections have been excluded from this summary to focus solely on the core content of the episode.