“Carolyn Merchant: My Life Exploring Science, Environment, and Ethics,” oral history release

New oral history: “Carolyn Merchant: My Life Exploring Science, Environment, and Ethics”

Video clip from Carolyn Merchant’s oral history on the 1970s social contexts for her book The Death of Nature

Color photograph of Carolyn Merchant outside with a green tree in the background
Professor Carolyn Merchant at UC Berkeley. (Photograph by Robert Holmgren.)

Carolyn Merchant is a Distinguished Professor Emerita of Environmental History, Philosophy, and Ethics at UC Berkeley. Her extensive research and teaching at Cal explored historical relationships between humanity, nature, and science with an ecofeminist focus on Western culture’s domination of nature and women. Throughout her academic career, Merchant published numerous peer-reviewed articles and wrote eleven books, as well as four edited volumes. Her genre-shaping publications—including The Death of Nature: Women, Ecology, and the Scientific Revolution (1980); Ecological Revolutions: Nature, Gender, and Science in New England (1989); Radical Ecology: The Search for a Livable World (1992), among others—influenced various academic fields from Women’s Studies to the History of Science, and from Ethics to Environmental History.

Merchant and I video-recorded seven hours of her oral history over four interview sessions in the spring of 2022. Those recordings resulted in a 132-page transcript that includes an appendix with photographs. Merchant’s full-life oral history not only explored her intellectual and academic career, but also recorded lesser known details from her female-centered childhood, her educational mentors, her personal relationships, and her social activism, all of which shaped her academic research and teaching at UC Berkeley.

Sepia photograph of Carolyn Merchant wearing a sweater and a pearl necklace
Carolyn Merchant in her senior year in Vassar College, Poughkeepsie, New York, 1958.

Merchant was born in 1936, in Rochester, New York, where she and her younger sister were raised by their mother, grandmother, and aunt. Merchant recalled how sharing a home with five strong women taught her that “women could do anything. …That gave me a role model unconsciously to know that I could do anything I wanted to.” As a high school senior in 1954, Merchant became a national top ten finalist in the Westinghouse Science Talent Search. She earned her AB in Chemistry from Vassar College in 1958, studied physics for a year at the University of Pennsylvania, and then, at the University of Wisconsin, Madison, she earned her MA in 1962 and her PhD in 1967 in the History of Science. Her graduate research explored the Vis Visa controversy in the seventeenth and eighteenth centuries over a “living force” in nature, from Gottfried Wilhelm Leibniz to Jean-Baptiste le Rond D’Alembert.

 

Video clip from Carolyn Merchant’s oral history on learning and teaching the history of science, 1960s and 1970s

During graduate school in Wisconsin, Merchant met and married botanist Hugh Iltis, with whom she had two sons, both of whom later graduated from UC Berkeley. Merchant also began her environmental activism during graduate school, which included lighting Wisconsin prairies on fire as a means to restore native plants and animal habitat. At that time, Merchant first read Betty Friedan’s The Feminine Mystique and Rachel Carson’s Silent Spring, which affected both her life and academic trajectories. In the late 1960s, upon completing her PhD thesis and her divorce from Iltis, Merchant and her sons moved from Wisconsin to Berkeley, California.

Color photograph of Carolyn Merchant outside and wearing a straw hat with a floral design
Carolyn Merchant in Honolulu, Hawaii, 1967.

Merchant’s life on the west coast provided new opportunities and realizations. While teaching the History of Science as a Visiting Lecturer at Oregon State University, Merchant lived on a Corvallis farm where the runner-up Dairy Queen of the state of Oregon taught her how to milk goats and cows. Merchant’s back-to-the-land experiences would shape her later analysis on utopias and what she described as the “organic society,” from John Salisbury’s organic concept of the state in 1159, to Francis Bacon’s The New Atlantis in 1627. To support herself and her family back in Berkeley, Merchant worked as an adjunct instructor, which she eventually parlayed into a fulltime position. She taught as a Lecturer at the University of San Francisco, where by 1976 she became an Assistant Professor, and she also taught in the innovative, interdisciplinary, yet short-lived Strawberry Creek College program at UC Berkeley.

Throughout the 1970s in the Bay Area, Merchant engaged in feminist, environmental, anti-war, and anti-capitalist politics, which is how she first met UC Berkeley historian Charles Sellers, whom she later married. Over many decades together, Merchant and Sellers advocated for social justice and shared adventures traversing the United States in a camper van while searching for rare birds and visiting far flung archival collections. On the road, Merchant used some of the first laptop computers to draft her eventual publications. Back in the Bay Area, Merchant connected with intellectuals like Theodore Roszak and became a visiting scholar at Stanford’s Center for Advanced Study in Behavioral Sciences. Around that time, Merchant learned from a USF colleague that UC Berkeley planned to hire a professor to work in the then-nascent field of environmental history. “I can do that,” she said to herself, and walked up the hill from her house to campus to submit her application. As she recalled, “when I was interviewed, I was from Stanford, and I was not a local yokel four blocks away in Berkeley where my house actually was.”

Video clip from Carolyn Merchant’s oral history on her hiring at UC Berkeley’s College of Natural Resources, 1980

Color photograph of Carolyn Merchant inside a room, leaning on a white cabinet and standing on a dark wood floor
Carolyn Merchant at her home in Berkeley, California, July 1984.

Women played a central role in Merchant’s research, as well as with her hiring at UC Berkeley in 1979. Merchant applied to the College of Natural Resources for a position in a new department then called Conservation and Resource Studies, which later became the Department of Environmental Science, Policy, and Management. On the hiring committee were five male faculty members and five female undergraduates. Many women took courses in the college, yet the faculty of the College of Natural Resources were still mostly men. After her on-campus interview, Merchant recalled “the students wanted a woman, and they lobbied. …They wanted to understand what role women had played in the environment, and how they used the environment, and how they developed as scientists and environmental scientists. And they liked me because I was interested in pursuing those topics and finding out by digging into the archives who the women were and what they had done.” The first three hires for the new department were all women. In 1980, one year after Merchant joined the faculty at UC Berkeley, she published The Death of Nature: Women, Ecology, and the Scientific Revolution, which remains in print today and has been translated into numerous languages. As Merchant recalled, when the book appeared, “there was a column in Newsweek, and then it was brought up at a congressional hearing. It [my book] was a criticism of what mechanistic science alone would do to the environment if it wasn’t associated with an ethic and some restraints and understanding of what the consequences were. So it was very gratifying to see that reception.”

The majority of Carolyn Merchant’s oral history explores her career as a Professor of Environmental History, Philosophy, and Ethics at UC Berkeley. The topics we discussed ranged from the evolution of Merchant’s research and teaching to her reflections on how the College of Natural Resources has changed over time. Generally, Merchant’s research and teaching examined the history and ethics of science and the environment through the lens of gender. As she noted during her oral history, “gender is so important and so central. Because most of human history, and most of even environmental history and the history of science, has been concerned with the roles that men play. And I want to make the roles that women play and the importance of gender as an equal thing, so that the roles of women are not obscured—and that women and men are equal partners not only in an existing political economy and a social economy, but they are equal partners in every aspect of trying to work together as partners to make the whole planet continue to live on.”

Video clip from Carolyn Merchant’s oral history on gendered reproduction

In her oral history, Merchant also addressed some of the specific, interrelated research themes that she developed throughout her career. One of those themes focused on science and domination, especially Merchant’s attention to impacts on nature as both a mental construct and a physical reality when institutions of science emerged within a patriarchal society. She also spoke about women and nature through the lens of ecofeminism. “Ecofeminism comes from a woman named Françoise d’Eaubonne in France,” Merchant explained. “Ecofeminism asserts the power of women and also their interrelationships with nature, and how women can save nature, and how women themselves can become important forces in the whole role of the conservation of resources.” Merchant discussed her partnership ethic, a contribution she made to environmental ethics in which humans of all genders, along with nonhuman nature, would be valued as equal partners inhabiting a flourishing earth. “Partnership makes nature and humans equal, and interactive, and sharing and giving,” Merchant declared, “and we have to conserve nature if we are going to go ahead and live in the future with an active nature and an active humanity.” In light of her own politics to protect and conserve nature, Merchant also reflected on about the importance of gendered reproduction, and how control of women’s bodies and the unpaid labor of those bodies are essential to the material, social, and cultural maintenance of a capitalist and patriarchal society. In contrast to the modern world’s focus on production, Merchant emphasized the need for reproduction: “allowing the reproduction of nature and its systems to continue is what is going to allow humanity to reproduce itself and to continue. …Because if we don’t allow the natural resources of the world to keep reproducing themselves, if we don’t set aside land or pass laws that prevent us from using everything up, we won’t be able to continue reproduction.”

Color photograph of Carolyn Merchant seated in her office on campus behind a desk covered with stacks of paper, which sits in front of a floor-to-ceiling bookshelf entirely full of booksCarolyn Merchant’s oral history is now available to read online, even as the ever-worsening impacts of climate change create an interrelated set of crises for the Earth and all living organisms on it, including humanity. After her long career teaching and researching environmental topics at UC Berkeley, Merchant admitted, “of course, I’m distressed that we have all the environmental problems that we have now.” Yet, in the face of these crises, she also shared her optimism. “There’s also hope in the sense that there are laws being passed, there are people who are working continuously, and there are new societies and new organizations being formed. So we’re at a tipping point. And hopefully, we’ll go in the direction of conservation, and environmental justice, and environmental reform, and saving the Earth.”

Carolyn Merchant, “Carolyn Merchant: My Life Exploring Science, Environment, and Ethics” conducted by Roger Eardley-Pryor in 2022, Oral History Center, The Bancroft Library, University of California, Berkeley, 2023.

Video clip from Carolyn Merchant’s oral history on her partnership ethic for humanity and nature

Video clip from Carolyn Merchant’s oral history on becoming a national finalist in the Westinghouse Science Talent Search, 1954

ABOUT THE ORAL HISTORY CENTER

The Oral History Center of The Bancroft Library preserves voices of people from all walks of life, with varying political perspectives, national origins, and ethnic backgrounds. We are committed to open access and our oral histories and interpretive materials are available online at no cost to scholars and the public. You can find our oral histories from the search feature on our home page. Search by name, keyword, and several other criteria. Sign up for our monthly newsletter featuring think pieces, new releases, podcasts, Q&As, and everything oral history. Access the most recent articles from our home page or go straight to our blog home.

If you’d like to see more interviews like this conducted and made freely available online, please consider making a tax-deductible donation to the Oral History Center. While we receive modest institutional support, we are a predominantly self-funded research unit of The Bancroft Library. We must raise the funds to cover the cost of each oral history. You can give online, or contact us at ohc@berkeley.edu for more information about our funding needs for present and future projects.


Prensa Libre (Guatemalan Newspaper) Archive Trial at UC Berkeley Library

The Library has started a thirty-day trial of Prensa Libre Newspaper. One can access the resource by authenticating from an off-campus location using the following hyperlink: https://libproxy.berkeley.edu/login?qurl=https%3A%2F%2Fgpa.eastview.com%2Fpren%2F

Currently, the full-text content is available for the issues starting in 1980 through 2022.

This is the landing page of the Presna Libre Newspaper's Digital Archive. Prensa Libre is a Guatemalan newspaper that was established in 1951. It has been digitized by EastVIew and as of September 5, 2023, issues from 1980 through 2022 were accessible.
Prensa Libre Digital Archive’s Landing Page.

 

Prensa Libre fue fundado el 20 de agosto de 1951 por Pedro Julio García, Álvaro Contreras Vélez, Salvador Girón Collier, Mario Sandoval Figueroa e Isidoro Zarco Alfasa.

Prensa Libre is a Guatemalan newspaper published in Guatemala City by Prensa Libre, S.A. and distributed nationwide. It was formerly the most widely circulated newspaper in the country and as of 2007 it has the second-widest circulation.[1] It is considered a local newspaper of record. It was founded in 1951. (Source: Wikipedia)


Romance Language Collections Newsletter no. 8 (Fall 2023)

This year’s welcome back newsletter for those working in the Romance languages focuses on digital and print resources. For the most up-to-date information on the UC Berkeley Library’s services, please continue to check the Library’s Get Help page.

Cinegramas: Revista Semanal (1934-36)
A substantial run of the Spanish weekly film magazine Cinegramas: Revista Semanal (1934-36) was acquired months before the Covid pandemic hit but can now be consulted in The Bancroft Library. It ceased publication with the outbreak of the Spanish Civil War in July 1936.
What’s new in the Library for Fall 2023?

  • 2022-23 Serials Reductions
  • E-reserves & bCourses
  • Reference & Instruction
  • Library Workshops
  • Library Research Guides
  • New Books and More
  • Open Access Books
  • UC Library Search – 4 FAQs
  • Featured Digitized Work

See also:


This week in Summer Reading

Book cover for Bartleby the Scrivener

Bartleby, the Scrivener
Herman Melville

I recommend Bartleby, the Scrivener, written by Melville in 1853. In this short story, Bartleby is a new, quiet clerk in a lawyer’s (the narrator’s) office, who soon ends up not doing any of the work, for inexplicable, impenetrable reasons. He adamantly resists answering any questions or to go along with accommodations his baffled employer tries to make for him. The lawyer and we readers can only guess at what kind of an anarchic (maybe?) inner life he lives. Another part of the joy of the story is the lawyer’s inability to do anything about Bartleby, not even to fire him, so that Bartleby’s inscrutable life has found a perfect partner in his employer’s avoidance. Bartleby is THE classic character of passive inexorability in the face of the rules. His short reply to all probing is one of the most well-known quotes in American literature: “I would prefer not to.”

JEAN DICKINSON
Slavic and E. European Cataloging & Metadata Librarian


Library Orientation for Art Practice and Art History Students

Welcome back students! If you are interested in learning more about the wonderful library arts resources, please join us at one of our upcoming library orientation sessions. Current sessions offered include:

Tuesday, September 5th 1-2
Tuesday, September 5th 4-5
Friday, September 8th 12-1
Friday, September 8th 3-4

Please rsvp at: http://ucblib.link/orientationAHC

Registration will be capped at 20 students per session. New dates/times will be added to the rsvp form if the current offerings reach capacity. We will meet in the Art History/Classics Library (room 308, 3rd floor Doe Library).

orientationflyer

 

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X: @ah_library_ucb
Instagram: berkeley_art_history_library

Primary Sources: Reports of the Anglo-American Committee of Inquiry Palestine, 1944-1946

A recent acquisition of the Library, Reports of the Anglo-American Committee of Inquiry Palestine, 1944-1946, provides access to the papers of this committee created in 1945 to “study the situation of Jewish survivors in Europe and the problems connected with their resettlement in Palestine.

“The committee was charged with gathering information and making recommendations on 1) the effect of Jewish immigration and resettlement on the political, economic, and social conditions in Palestine; and (2) the position of surviving Jews in Europe and the possibility of relieving the problem by repatriation or resettlement of the survivors in Palestine and other non-European countries. The committee called for a unitary state rather than partition based on ethnicity or religious profession. The records include AACI reference files, evidence submitted to the committee, transcripts of hearings, AACI reports, and papers of the Anglo-American Cabinet Committee.”

Source


Primary Sources: Testaments to the Holocaust, Documents and Rare Printed Materials from the Weiner Library, London

A recent acquisition, Testaments to the Holocaust, Dococuments and Rare Printed Materials from the Weiner Library, London, provides access to the “first archive to collect evidence from the Holocaust and the anti-semitic activities of the German Nazi party. It contains documentary evidence collected in several different programmes: the eyewitness accounts which were collected before, during and after the Second World War, from people fleeing the Nazi oppression, a large collection of photographs of pre-war Jewish life, the activities of the Nazis, and the ghettoes and camps, a collection of postcards of synagogues in Germany and eastern Europe, most since destroyed, a unique collection of Nazi propaganda publications including a large collection of ‘educational’ children’s’ books, and the card index of biographical details of prominent figures in Nazi Germany, many with portrait photographs. Pamphlets, bulletins and journals published by the Wiener Library to record and disseminate the research of the Institute are also included. 75% of the content is written in German.”

source

 


Senga Nengudi: Black Avant-Garde Visual and Performance Artist

As a continuation of our work for the Getty Research Institute’s African American Art History Initiative (AAAHI), Dr. Bridget Cooks and I conducted several oral history interviews with the avant-garde artist Senga Nengudi. This interview is one of several AAAHI oral histories exploring the lives and work of Los Angeles-based artists, and highlights Nengudi’s contributions to visual and performance art.

Senga Nengudi and her pantyhose sculptures.
Senga Nengudi setting up for a performance with R.S.V.P. X, 1976. Senga Nengudi Papers, Amistad Research Center, New Orleans. © Senga Nengudi.

Senga Nengudi is an avant-garde artist best known for her abstract sculpture and performance art. Nengudi was born in Chicago, Illinois, in 1943 and moved to Los Angeles, California, at a young age. She attended California State University, Los Angeles (CSULA) for both her undergraduate and master’s work, as well as completed a program at Waseda University in Tokyo, Japan. Nengudi was active in the avant-garde Black art scenes in Los Angeles and New York during the 1960s and 1970s, and was a member of the Studio Z Collective. She is best known for her R.S.V.P. (Répondez s’il vous plaît) Series featuring pantyhose, which she began in 1975. Nengudi is the recipient of many awards, including the Louis Comfort Tiffany Foundation Award in 2005, the Anonymous Was a Woman Award in 2005, the Denver Art Museum Key Award in 2019, and was elected as a member to the American Academy of Arts and Sciences in 2020. Find this interview and all our oral histories from the search feature on our home page. You can search by name, key word, and several other criteria.

Senga Nengudi was still in elementary school when she and her mother moved to Los Angeles in the early 1950s. Despite a brief stint in New York, for more than thirty years she lived in the greater Los Angeles area first as a child; as a student at CSULA; as an artist and active member of the Studio Z Collection; and as a young mother. That Nengudi called Los Angeles home for so long meant that her formative years of creative expression and early artistic networks sprang from the Southland. 

Looking back, Nengudi credits her mother with providing a creative foundation.

“…she was very, very, very conscious of the home and making something home, and so she would decorate the house. And then, say like three years later, she would repaint the walls, she would change the upholstery, she would do all those kinds of things. She was very aesthetically aware, as well as needed a particular beauty in her home to feel good.”

And Nengudi expressed her own creativity through several outlets, remembering, “It’s always been a deal between art and dance with me…” Indeed, during her undergraduate years at CSULA, she chose to major in art and minor in dance—a pairing which supports much of her work.

In the mid-1970s, Nengudi found an outlet to express her love of performance through the Studio Z Collective—a collective of artists interested in improvisation that continued into the 1980s. In addition to Nengudi, Studio Z was comprised of Houston Conwill, David Hammons, Maren Hassinger, and occasionally other artists including Franklin Parker and Ulysses Jenkins. Her relationships with these artists also had a great impact on Nengudi’s artistic career. Thinking of Studio Z’s contribution to her 1978 performance Ceremony for Freeway Fets, which took place under a freeway overpass on Pico Blvd., she muses that “we all kind of supported each other in our efforts.”

Nengudi also found early support from Los Angeles-based gallery owners like Greg Pitts at the Pearl C. Woods Gallery, as well as Brockman Gallery’s Alonzo and Dale Davis. In fact, Brockman Gallery’s dispersal of CETA [Comprehensive Employment and Training Act] funds helped employ artists like Nengudi and Maren Hassinger.

Hassinger remains Nengudi’s longtime creative collaborator. Nengudi recalls that the connection between the two was immediate, “We just kind of instantly became friends, because there was this commonality. She was involved with dance, she was involved with sculpture, all that kind of stuff.” And to why this collaboration with Hassinger has sustained both the passing of years and geographical distance, Nengudi explains:

“Because we believe so much in collaboration. We believe in unity. We believe in bringing the best out in each other…Even though our background is different, our interests are the same. It’s always been dance, performance, sculpture, movement, and this commitment to our art. And when we had some really funky times and we were 2,000 miles apart, the thing that held us together was this commitment to art. And so that kind of carried us through the most difficult things…So all these life events were going on, but the constant was our ability to connect and think and make happen.”

Senga Nengudi and her pantyhose sculptures.
Senga Nengudi setting up for a performance with R.S.V.P. X, 1976. Senga Nengudi Papers, Amistad Research Center, New Orleans. © Senga Nengudi.

Nengudi’s most recognizable series of work is R.S.V.P., which she started in the mid-1970s. The R.S.V.P. Series, or Répondez s’il vous plaît (respond, please), demonstrated Nengudi’s experimentation with nylon pantyhose. Importantly, Nengudi began working in this medium after the birth of her first son, when she was especially interested in the elastic nature of a woman’s body. She recalls, 

“So yes, the explorations were really exciting. I put eggs in them, I broke eggs in them…I used white glue, I used hot glue, which obviously didn’t last that long. I tried everything—resin. Again, it dissolved in the resin. So really, as I was developing the series, it was all about exploring the material…And it took a while to get to…the sand, where I just noticed that…once in the nylons, it had such sensuality to it, because it had this kind of natural body form from the weight of the sand.”

Given the experimental nature of her sand-filled nylon pieces, Nengudi explains, “I thought about them as sculpture first. I did not develop them thinking that I would perform in them.” But Nengudi eventually did embrace the performative potential of these sculptures, even engaging Hassinger to perform with them at the Pearl C. Woods Gallery in 1977 by entwining her body with the material, manipulating it, even dancing with it. 

Nengudi has lived in Colorado since the 1980s, and continues to stimulate audiences by creating work that plays with the line between sculpture, installation, and performance in space. However, she has also made significant contributions as an arts educator, especially at University of Colorado at Colorado Springs, and as an advocate of the arts. Namely, she established a community art gallery called ARTSpace in Colorado Springs so that “artists could show their work” and learn “what it takes to have an art exhibit.” The added bonus, of course, was that “the community could come in and see the artwork. It was right there for them.” For someone whose early exposure to creative expression was so formative to her artistic practice, this is a logical next step to engage new generations of artists and viewers. It also connects with her decades-long entreaty to audiences: “respond, please.”

To learn more about Senga Nengudi’s life and work, check out her oral history interview! Find this interview and all our oral histories from the search feature on our home page. You can search by name, key word, and several other criteria.

 


Primary sources: Russian language historical ebook collections

This post highlights some of the Library’s acquisitions of Russian-language historical ebook collections that may have escaped your notice.

Anti-religious alphabet bookSoviet Anti-Religious Propaganda ebook collection

East View has digitized a collection of 280 e-books that are most emblematic of Soviet anti-religious fervor. They were published mainly in the 1920s and 1930s on a variety of atheist or anti-religious topics, with titles including Christianity versus Communism, Church versus Democracy, and The Trial of God.

Early Soviet Cinema

Another collection from East View of 116 ebooks, originally published from 1928 to 1948, relating to the golden age of Soviet Cinema.

Russian Avant-garde Online

An ebook collection of 778 works from Brill Online. It represents works of all Russian literary avant-garde schools, most published betwen 1910-1940. According to the publisher, “the strength of this collection is in its sheer range. It contains many rare and intriguingly obscure books, as well as well-known and critically acclaimed texts, almanacs, periodicals, literary manifests. This makes it a gold mine for art historians and literary scholars alike. Represented in it are more than 30 literary groups without which the history of twentieth-century Russian literature would have been very different. Among the groups included are the Ego-Futurists and Cubo-Futurists, the Imaginists, the Constructivists, the Biocosmists, and the infamous nichevoki – who, in their most radical manifestoes, professed complete abstinence from literary creation.”


Science in Context: The UC Berkeley School of Public Health Oral History Project

As we know from our daily experience of the COVID-19 pandemic, public health is a political and cultural flashpoint in American society, as it has been since its emergence as a field of study and area of state authority in the 19th century. Whereas conventional biomedicine situates illness squarely inside the human body — a matter of damage to or malfunction of organ systems — public health looks outward, to the communication of diseases among populations and to the social factors that contribute to health or illness. Public health practitioners look at everything from the aggregate of individual human choices, such as smoking, to larger, deeper historical structures in society, such as the impact of systemic racism on health outcomes. Is it the government telling you how you or your children should behave, or is it science-based advice to help reduce rates of illness, harm, or death in society? Public health is science in political context like few other fields of research. 

Well over a decade ago, the School of Public Health at UC Berkeley began to take stock of this positioning and reflect on how a teaching and research institution could better respond to the challenges of science in context. This set of interviews emerged from an effort to document the recent history and institutional evolution of the school. Steve Shortell, who was dean of the school from 2002 until 2013, wanted to chronicle the foundation and growth of the On-campus/Online Professional MPH (master’s of public health) Program; the reinstitution of the undergraduate major in public health; the development of an office of diversity; a graduate program in public health practice and leadership; and a center for health leadership, formerly known as the Center for Public Health Practice and Leadership and currently known as RISE. Dean Shortell also wanted to feature some key leaders associated with these developments.  

Close-up of the back of a decorated graduation cap on a person with long hair; the cap says, “Life, UCB, and OOMPH turned try into triumph.” At the bottom of the cap, there is a button fastened to a bow; the button depicts a graduation cap surrounded by confetti, and says “just graduated!”

There are three interviews with Dean Shortell that provide the context for the institutional changes during this period, as well as explorations of his career in health management research. Executive Associate Dean Thomas Rundall was also interviewed about multiple initiatives, including his leadership of the graduate programs in health management and co-directorship of the Center for Lean Engagement and Research in Healthcare (CLEAR). Jeffrey Oxendine was interviewed about his role as co-founder and associate dean of the Center for Public Health Practice and Leadership, which began in 2008. Another feature of this oral history project was to explore the reinstitution of the undergraduate major in public health in 2003. Dr. Lisa Barcellos was interviewed in part about her leadership of that program and her research on the genetic and environmental factors involved in autoimmune disease. 

There is also a set of interviews surrounding the establishment and growth of the online MPH program. Dr. Nap Hosang was the first director of the hybrid master’s of public health program, and he discusses the unique features of the program’s design, particularly with respect to accessing a diverse and unique pool of student talent, which contributed to the program’s success in subsequent years. Dr. Deborah Barnett was interviewed partly about her capacity as the successor and current leader of the program and as chief of curriculum and instruction. Alberta (Abby) Rincón recounted the history of her time as director of diversity and the foundation of the DREAM (Diversity, Respect, Equity, Action, Multiculturalism) office in the school. In her interview, chair of the Division of Community Health Sciences Dr. Denise Herd discusses the history of research in health disparities and the social determinants of health — a subject that is raised in many of the interviews — and her participation in the campus-wide Othering & Belonging Institute. Finally, Dr. Art Reingold was interviewed about his several decades as director of the Division of Epidemiology, the online MPH program, and teaching in the time of COVID.

If the field of public health is broadly defined as the study of health at the population level, this set of interviews reveals the broadest themes of health in context: the environment that shapes the expression of genes, the factors that lead to the nourishment or deprivation of bodies and minds, the factors that determine who gets to study or teach public health, the factors that shape the delivery of health care, and the contexts that shape the interactions between human bodies and other organisms and pathogens. The overarching story is about how these individuals studied, improved, and optimized institutional attention to these larger contexts, contributing to one of the most extraordinary public health programs in the country. 

Read more from the individual interviews below:

Deborah Barnett portrait
Deborah Barnett

 

 

 

 

Denise Herd portrait
Denise Herd

 

 

 

 

Nap Hosang portrait
Nap Hosang

 

 

 

 

Jeffrey Oxendine portrait
Jeffrey Oxendine

 

 

 

 

Arthur Reingold portrait
Arthur Reingold
Alberta Rincon portrait
Alberta Rincón

 

 

 

 

Thomas Rundall portrait
Thomas Rundall

 

 

 

 

Steve Shortell portrait
Steve Shortell