macarthur fellow

Sara Seager

(born 1971) Astronomer and planetary scientist

Sara Seager is a full professor of physics and planetary science at MIT. She is perhaps best known for the Seager equation which identifies potentially habitable planetary systems through gas analysis. She has been awarded countless honors, including being recognized as an honorary fellow with the Royal Astronomical Society of Canada and was awarded the “Genius Grant” from the MacArthur Foundation in September 2013.

Number 85 in an ongoing series celebrating remarkable women in science, technology, engineering, and mathematics.

Jazz pianist, composer and Physics scholar Vijay Iyer has been awarded a prestigious MacArthur Fellowship.

In our 2010 interview with him he speaks of his musical influences:

I’m very influenced by the music of my heritage, and I’ve spent a good deal of time studying on my own terms and coming to terms with carnatic music — the South Indian classical music. Particularly, I’m interested in rhythmic concepts from South Indian music, and so I work with a lot of these elements in my music. And the structures of that tradition are very mathematical, but it’s in a way that is an aesthetic. It’s not just about calculation for its own sake. It’s something that pervades the visual art and the culture of South India.

via Harvard University


61.  (As long as it takes to complete the song.) THIS ITEM MUST BE POSTED ON SOCIAL MEDIA PRIOR TO THE END OF THE HUNT! James Corden hosts Carpool Karaoke in the US— a viral show that has celebrities singing songs with him in a car. (Yes, we realize this is typical lowbrow-American TV, but it works.) We want to upgrade carpool karaoke and make it more high-brow. Create your own carpool karaoke with a political or intellectual powerhouse. Your co-singer must be either a nobel laureate, MacArthur Fellow, a national elected official, Bill Nye, Jane Goodall, Neil deGrasse Tyson, or any past or present member of the Harlem Globetrotters. Oh, and your karaoke song must have sufficient gravitas and must be an 80s pop song. For example, “Like a Virgin” would do nicely. Shoot your video Carpool Karaoke style. Tweet the video to @JKCorden with #gishwhesloveskaraoke and mention who your passenger is in the post. Upload the video on our submit page but be sure to provide the link to your social media post in the comment field of the submit page.

Thomas Ruggles Pynchon, Jr. (born May 8, 1937)

American novelist. A MacArthur Fellow, he is noted for his dense and complex novels. His fiction and non-fiction writings encompass a vast array of subject matter, genres and themes, including history, music, science, and mathematics. For Gravity’s Rainbow, Pynchon won the 1974 U.S. National Book Award for Fiction.

From our stacks: (Slightly sun faded) Dust jacket from V. Thomas Pynchon. New York: The Modern Library, 1966. Jacket design by S. Neil Fujita.

Henry Louis Gates Jr. and Margo Jefferson are two of the finest intellectuals in our country today. Gates, a MacArthur Fellow, and Jefferson, a Pulitzer-Prize winner, share a deep interest in Harriet Beecher Stowe’s Uncle Tom’s Cabin. In 2006, Gates and Jefferson sat down at the Library for a special event on the novel co-presented with The Studio Museum in Harlem. While initially praised by the likes of Frederick Douglass, its eponymous character has also at times been linked with an insulting vision of black masculinity and, more recently, has been recuperated by some feminist scholars. For this week’s episode of the New York Public Library Podcast, we’re proud to present Henry Louis Gates Jr. and Margo Jefferson discussing the myriad ways of understanding Uncle Tom’s Cabin.

anonymous asked:

this is kind of a weird question, but which works would you recommend for someone just getting into ~serious literature~?

Not a weird question at all! If you’re not as lucky as me & don’t have a lovely, hyper-intelligent English teacher who is willing to make you lots of book recommendations, I am very sorry!! He is responsible for most of my education. 

But I did fish out an old email from him, basically a reply to the question “What should I read if I want to be a real person and reader and stuff” so I quote:

Shakespeare: Twelfth Night, Measure for Measure, Hamlet, The Tempest

Other novels/plays: Tristam Shandy, Emma, Great Expectations, Middlemarch, The Portrait of a Lady or The Wings of a Dove, The Renaissance (by Walter Pater,) The Picture of Dorian Gray, Proust but primarily Swann’s Way, Ulysses, Waiting for Godot, 100 Years of Solitude, The Unbearable Lightness of Being, anything by Borges, Invisible Cities, The Remains of the Day

Poetry: the Preface of Lyrical Ballads and “Lines Written Above Tintern Abbey” by Wordsworth, “Dover Beach” by Matthew Arnold, T.S. Eliot’s “The Wasteland,” “Notes Toward a Supreme Fiction” by Wallace Stevens, “At the Fishhouses” and “One Art” by Elizabeth Bishop.

Those are recommendations from someone much smarter than I will ever be — if I can add, though, I’d recommend Beloved by Toni Morrison, Mrs. Dalloway and The Waves and A Room of One’s Own by Virginia Woolf, Crime and Punishment by Dostoevsky, Wuthering Heights by Emily Brontë, The Crying of Lot 49 by Thomas Pynchon, and The Handmaid’s Tale by Margaret Atwood.

Also, because I believe that the best literary education is a combination of reading both classics and contemporary literature, the best foray into the contemporary landscape of literary fiction is found at The New Yorker’s book section (& also their weekly fiction story,) The New York Review of Books, the New York Times Sunday Book Review (skim it,) n+1, and the Paris Review. (All of these are available online or at any major bookstore!)

It’s also very much worth it to look into who has won the Pulitzer for Fiction, the Nobel prize for Literature, & the Man Booker Prize lately. There’s a lot of issues with setting too much store by who wins these prizes, as it’s often really arbitrary and sometimes even problematic (i.e., the lack of women/POC winning or being on the judging panels for these prizes; everyone on the judging panel for the Booker this year is white…oh so coincidentally…,) but it can serve as a good taste. Also, the work of MacArthur Fellows (dubbed the “Genius Grant”) for Fiction is generally pretty excellent.

Read widely, have a discerning taste…and above all read what you like. 

BREAKING: A new, non-profit organization created to finance and produce films, documentaries, TV and other forms of media uniquely dedicated to the empowerment of women has been launched with a mission to create content that will change perceptions of female stereotypes. On the advisory board of the company called We Do It Together are Jessica Chastain, Juliette Binoche, Freida Pinto, Queen Latifah, Twilight director Catherine Hardwicke; actress Ziyi Zhang, to name only a few.

The move comes after the revelation last fall that the The federal Equal Employment Opportunity Commission was interviewing dozens of female directors about the discrimination they face in both film and television. Women currently receive only 16% of the episodic TV directing jobs, and last year directed less than 5% of the major studio releases.

We Do It Together looks to change this. They say they will raise capital from grants, governments, corporate sponsors, and individual donations to invest in the production of films, proceeds from which will be reinvested in the company to create a self-sustaining organization, prepared to invest in additional films. The first film through this new company will be announced at the 2016 Cannes International Film Festival.

The advisory board also consists of such creative talent as male director Hany Abu-Assad; A United Kingdom director Amma Asante; The Diary of a Teenage Girldirector, writer and actress Marielle Heller; City of God Director Katia Lund; Ellesdirector Małgorzata Szumowska; actress, producer and writer Alysia Reiner; MacArthur Fellow, Harvard Professor, Alfred I. DuPont-Columbia Award, National Humanities Medal honoree Henry Louis Gates; and BAFTA-nominated and Wadjdadirector Haifaa Al Mansour.

The board will be responsible for collaborating on the slate of films they will produce. They also plan to start local chapters to make regional impacts.

The organization’s launch comes as the company readies itself for its first public speaker platform, with We Do It Together scheduled to participate at the United Nations’ 3rd Annual Power of Collaboration Global Summit on February 29th. Speaking to the topic of “A Glimpse to Next Stop: Conversations With Men (And Women) in Hollywood,” board member and founder Chiara Tilesi will be presenting the new international non-profit production company model and discussing the organization’s mission of challenging the status quo, producing movies by women and about women, while changing deep-seated perceptions about female stereotypes.

Sitting on the board of directors of We Do It Together are producer Albert Berger; DDA Partner Dana Archer; The Gersh Agency’s Sandra Lucchesi; Mosaic manager Paul Nelson; Producer-Director Carol Polakoff; Primetime Emmy-winning producer Shelby Stone; producer and philanthropist Tilesi; and Septembers of Shiraz writer and producer Hanna Weg.

Jessica Chastain, Juliette Binoche, Freida Pinto, Queen Latifah, Other Women Launch Production Company To Help Female Empowerment In TV And Film

Junot Díaz (born December 31, 1968) is a Dominican-American  writer, creative writing professor at Massachusetts Institute of Technology (MIT), and fiction editor at Boston Review. He also serves on the board of advisers for Freedom University, a volunteer organization in Georgia that provides post-secondary instruction to undocumented immigrants. Central to Díaz’s work is the immigrant experience. He received the Pulitzer Prize for Fiction for his novel The Brief Wondrous Life of Oscar Wao, in 2008. He is a 2012 MacArthur Fellow.

Díaz was born in Villa Juana, a neighborhood in Santo DomingoDominican Republic. He was the third child in a family of five. Throughout most of his early childhood, he lived with his mother and grandparents while his father worked in the United States. Díaz emigrated to Parlin, New Jersey, in December 1974, where he was re-united with his father. There he lived less than a mile from what he has described as “one of the largest landfills in New Jersey”.

He attended Madison Park Elementary and was a voracious reader, often walking four miles in order to borrow books from his public library. At this time Díaz became fascinated with apocalyptic films and books, especially the work of John Christopher, the original Planet of the Apes films, and the BBC mini-series Edge of Darkness. Díaz graduated from Cedar Ridge High School (now merged to form Old Bridge High School) in Old Bridge Township, New Jersey in 1987.[8] Though he would not begin to write formally until years later,[9]

He attended Kean College in Union, New Jersey for one year before transferring and ultimately completing his BA at Rutgers College in 1992, majoring in English; there he was involved in Demarest Hall, a creative-writing, living-learning, residence hall, and in various student organizations. He was exposed to the authors who would motivate him to become a writer: Toni Morrison and Sandra Cisneros. He worked his way through college by delivering pool tables, washing dishes, pumping gas, and working at Raritan River Steel. Reflecting on his experience growing up in America and working his way through college in 2010, Díaz said: “I can safely say I’ve seen the US from the bottom up…I may be a success story as an individual. But if you adjust the knob and just take it back one setting to the family unit, I would say my family tells a much more complicated story. It tells the story of two kids in prison. It tells the story of enormous poverty, of tremendous difficulty." A pervasive theme in his short story collection Drown is the absence of a father, which reflects Diaz’s strained relationship with his own father, with whom he no longer keeps in contact. When Diaz once published an article in a Dominican newspaper condemning the country’s treatment of Haitians, his father wrote a letter to the editor saying that the writer of the article should "go back home to Haiti.”

After graduating from Rutgers he was employed at Rutgers University Press as an editorial assistant. At this time Diaz also first created the quasi-autobiographical character of Yunior in a story he used as part of his application for his MFA program in the early 1990s. The character would become important to much of his later work including Drown and This is How You Lose Her.[12] Yunior would become central to much of Diaz’s work, Diaz later explaining how “My idea, ever since Drown, was to write six or seven books about him that would form one big novel”. He earned his MFA from Cornell University in 1995, where he wrote most of his first collection of short stories. Currently, Díaz teaches creative writing at the Massachusetts Institute of Technology as the Rudge and Nancy Allen Professor of Writing and is also the fiction editor for Boston Review. He is active in the Dominican American community and is a founding member of the Voices of Our Nations Arts Writing Workshop, which focuses on writers of color. Díaz was a Millet Writing Fellow at Wesleyan University, in 2009, and participated in Wesleyan’s Distinguished Writers Series.

Díaz is related to American journalist Nefertiti Jáquez, who currently works for NBC News in Philadelphia, Pennsylvania. He lives in a domestic partnership with paranormal romance writer Marjorie Liu.

His short fiction has appeared in The New Yorker magazine, which listed him as one of the 20 top writers for the 21st century. He has also been published in StoryThe Paris Review, and in the anthologies The Best American Short Stories four times (1996, 1997, 1999, 2000), The PEN/O. Henry Prize Stories (2009), and African Voices. He is best known for his two major works: the short story collection Drown (1996) and the novel The Brief Wondrous Life of Oscar Wao (2007). Both were published to critical acclaim and he won the 2008 Pulitzer Prize for Fiction for the latter. Diaz himself has described his writing style as “[…] a disobedient child of New Jersey and the Dominican Republic if that can be possibly imagined with way too much education.”

Díaz has received a Eugene McDermott Award, a fellowship from the John Simon Guggenheim Memorial Foundation, a Lila Acheson Wallace Readers Digest Award, the 2002 PEN/Malamud Award, the 2003 US-Japan Creative Artist Fellowship from the National Endowment for the Arts, a fellowship at the Radcliffe Institute for Advanced Study at Harvard University and the Rome Prize from theAmerican Academy of Arts and Letters. He was selected as one of the 39 most important Latin American writers under the age of 39 by the Bogotá World Book Capital and the Hay Festival. In September 2007, Miramax acquired the rights for a film adaptation of The Brief Wondrous Life of Oscar Wao.

The stories in Drown focus on the teenage narrator’s impoverished, fatherless youth in the Dominican Republic and his struggle adapting to his new life in New Jersey. Reviews were generally strong but not without complaints. Díaz read twice for PRI‘s This American Life: “Edison, New Jersey" in 1997 and "How to Date a Browngirl, Blackgirl, Whitegirl, or Halfie" in 1998. Díaz also published a Spanish translation of' Drown, entitled Negocios. The arrival of his novel (The Brief Wondrous Life of Oscar Wao) in 2007 prompted a noticeable re-appraisal of Díaz’s earlier work. Drownbecame widely recognized as an important landmark in contemporary literature—ten years after its initial publication—even by critics who had either entirely ignored the book or had given it poor reviews.

The Brief Wondrous Life of Oscar Wao was published in September 2007. New York Times critic Michiko Kakutani characterized Díaz’s writing in the novel as:

a sort of streetwise brand of Spanglish that even the most monolingual reader can easily inhale: lots of flash words and razzle-dazzle talk, lots of body language on the sentences, lots ofDavid Foster Wallace-esque footnotes and asides. And he conjures with seemingly effortless aplomb the two worlds his characters inhabit: the Dominican Republic, the ghost-haunted motherland that shapes their nightmares and their dreams; and America (a.k.a. New Jersey), the land of freedom and hope and not-so-shiny possibilities that they’ve fled to as part of the great Dominican diaspora.

Díaz said about the protagonist of the novel, “Oscar was a composite of all the nerds that I grew up with who didn’t have that special reservoir of masculine privilege. Oscar was who I would have been if it had not been for my father or my brother or my own willingness to fight or my own inability to fit into any category easily.” He also has said that he sees a meaningful and fitting connection between the science fiction and/or epic literary genres and the multi-faceted immigrant experience.

Writing for Time, critic Lev Grossman said that Díaz’s novel was “so astoundingly great that in a fall crowded with heavyweights–Richard RussoPhilip Roth–Díaz is a good bet to run away with the field. You could call The Brief Wondrous Life of Oscar Wao… the saga of an immigrant family, but that wouldn’t really be fair. It’s an immigrant-family saga for people who don’t read immigrant-family sagas.”

In addition to the Pulitzer, The Brief Wondrous life of Oscar Wao was awarded the John Sargent Sr. First Novel Prize, the National Book Critics Circle Award for Best Novel of 2007 the Anisfield-Wolf Book Awards, the 2008 Dayton Literary Peace Prize for Fiction, the 2008 Hurston-Wright Legacy Award, and the Massachusetts Book Awards Fiction Award in 2007. Díaz also won theJames Beard Foundation’s MFK Fisher Distinguished Writing Award for his article “He’ll Take El Alto”, which appeared in Gourmet, September 2007. The novel was also selected by Time andNew York Magazine as the best novel of 2007. The St. Louis Post-DispatchLos Angeles TimesVillage VoiceChristian Science MonitorNew StatesmanWashington Post, and Publishers Weekly were among the 35 publications that placed the novel on their 'Best of 2007’ lists. The novel was the subject of a panel at the 2008 Modern Language Association conference in San Francisco. Stanford University also dedicated a symposium to Junot Díaz in 2012, with roundtables of leading US Latino/a Studies scholars commenting on his creative writing and activism.

In February, 2010, Díaz’s contributions toward encouraging fellow writers were recognized when he was awarded the Barnes & Noble Writers for Writers Award, alongside Maxine Hong Kingston and poet M.L. Liebler. Also in February 2010, Díaz contributed a highly negative critical assessment of the presidency of Barack Obama to The New Yorker. writing in his essay “One Year: Storyteller-in-Chief”:

All year I’ve been waiting for Obama to flex his narrative muscles, to tell the story of his presidency, of his Administration, to tell the story of where our country is going and why we should help deliver it there. A coherent, accessible, compelling story—one that is narrow enough to be held in our minds and hearts and that nevertheless is roomy enough for us, the audience, to weave our own predilections, dreams, fears, experiences into its fabric. It should necessarily be a story eight years in duration, a story that no matter what our personal politics are will excite us enough to go out and reëlect the teller just so we can be there for the story’s end. But from where I sit our President has not even told a bad story; he, in my opinion, has told no story at all. I heard him talk healthcare to death but while he was elaborating ideas his opponents were telling stories. Sure they were bad ones, full of distortions and outright lies, but at least they were talking to the American people in the correct idiom: that of narrative. The President gave us a raft of information about why healthcare would be a swell idea; the Republicans gave us death panels. Ideas are wonderful things, but unless they’re couched in a good story they can do nothing.

In September 2012, he released a new collection of short stories entitled This Is How You Lose Her. The collection was named a finalist for the 2012 National Book Award on October 10, 2012. In his review of the book on online arts and culture journal Frontier Psychiatrist, Editor-In-Chief Keith Meatto wrote, “While This is How You Lose Her will surely advance Diaz’s literary career, it may complicate his love life. For the reader, the collection raises the obvious question of what you would do if your lover cheated on you, and implies two no less challenging questions: How do you find love and how do you make it last?”

A description of the book is as follows:

The stories in This Is How You Lose Her, by turns hilarious and devastating, raucous and tender, lay bare the infinite longing and inevitable weaknesses of our all-too-human hearts. They capture the heat of new passion, the recklessness with which we betray what we most treasure, and the torture we go through – “the begging, the crawling over glass, the crying” – to try to mend what we’ve broken beyond repair. They recall the echoes that intimacy leaves behind, even where we thought we did not care. They teach us the catechism of affections: that the faithlessness of the fathers is visited upon the children; that what we do unto our exes is inevitably done in turn unto us; and that loving thy neighbor as thyself is a commandment more safely honored on platonic than erotic terms. Most of all, these stories remind us that the habit of passion always triumphs over experience, and that “love, when it hits us for real, has a half-life of forever.”

Also in 2012, Diaz received a $500,000 (U.S.) MacArthur “Genius grant” award; however, the reaction to the news was not entirely positive, as evidenced by a negative piece by Nina Burleigh in the New York Observer that called the decision to award Diaz “baffling” in the light of his having already won a number of major literary prizes. Diaz himself is quoted as saying of his award win in the MIT News “I think I was speechless for two days,” and that it was both “stupendous” and a “mind-blowing honor.”

Diaz is currently at work on his second long novel, a science-fiction epic provisionally entitled Monstro. Diaz has previously attempted to write a science fiction novel twice, with earlier efforts in the genre “Shadow of the Adept, a far-future novel in the vein of Gene Wolfe’s The Shadow of the Torturer, and Dark America, an Akira-inspired post-apocalyptic nightmare” remaining incomplete and unpublished. In an interview with New York Magazine prior to the release of This Is How You Lose Her, Diaz revealed that the work-in-progress novel concerns “[…] a 14-year-old “Dominican York” girl who saves the planet from a full-blown apocalypse," but he has also warned that the novel may never be completed: "“I’m only at the first part of the novel, so I haven’t really gotten down to the eating,” he says, “and I’ve got to eat a couple cities before I think the thing will really get going.”

Of writing and the arts, Diaz has said "Art is what matters most, and if you’re not contextualizing for a larger push for the arts, what does it matter? What’s really relevant, important, and exigent is that all of us are under pressure to spend less time with art, and we’ve got to figure out a way to talk and encourage each other to do the opposite." With regard to his own writing, Diaz has said “There are two types of writers: those who write for other writers, and those who write for readers,” and that he prefers to keep his readers in mind when writing, as they’ll be more likely to gloss over his mistakes and act as willing participants in a story, rather than actively looking to criticize his writing.

Díaz has been active in a number of community organizations in New York City, from Pro-Libertad, to the Dominican Workers’ Party (Partido de los Trabajadores Dominicanos), and the Unión de Jóvenes Dominicanos (lit. "Dominican Youth Union”). He has been critical of immigration policy in the United States. With fellow author Edwidge Danticat, Díaz published an op-ed piece in The New York Times condemning the illegal deportation of Haitians and Haitian Dominicans by the Dominican government.

On May 22, 2010, it was announced that Díaz had been selected to sit on the 20-member Pulitzer Prize board of jurors. Díaz described his appointment, and the fact that he is the first of Latin background to be appointed to the panel, as an “extraordinary honor”.

He is currently the honorary chairman of the DREAM Project, a non-profit education involvement program in the Dominican Republic.

Classical pianist and writer Jeremy Denk is a 2013 MacArthur Fellow. Celebrated as a “gifted expositor,” his blog, Think Denk is a “life-log technical analysis, informative repartee, and witty memoir.” Last year on Fresh Air he spoke of Beethoven:

The last Beethoven sonata seems to me [to be] one of the most profound musical journeys to infinity ever made, the whole piece seems to want to bring us from a present moment into this timeless space where everything is continuous and endless.

image via NYT/Fred R. Conrad


NEWSHOUR ART BEAT: Video artist, MacArthur fellow Mary Reid Kelley on recovering history’s lost narratives

Kelley works with her partner Patrick Kelley to create films that attempt to fill in the gaps between established facts, often telling the stories of people on the margins of history books. “I am very interested in people who do not, for some reason or other, tell their own stories, or can’t tell their own stories,” Kelley told the NewsHour. Kelley plays all of the characters as they face the challenges that come with moments of intense societal change — a struggle that resonates with the present day. But to talk to Kelley about her work is to wander with her through history.

Researching World War I led Kelley to the stories of sex workers who had staffed popular brothels for soldiers during the war. Kelley said she encountered no testimony from the women who survived those brothels, a gap in recorded history that “shocked and really disappointed” her, Kelley said.

But then she realized: “If you had survived that experience, no one would think it was a valuable experience. The best thing that could happen to you would be to go somewhere and have nobody ever realize that it happened to you. … It would have damaged their lives to say it. This happens to a lot of women now, who suffer sexual violence.”

Read more


Congrats to Steve Coleman on becoming a 2014 MacArthur Fellow! Watch the saxophonist play the ruins of Fort Adams from our Field Recordings series.

Support for women in the sciences

On Friday I gave a talk at my college’s spring symposium on women in sciences. I was extremely excited leading up to it - expecting all of those who have articulated their support for my project, especially those in the sciences, to be in the audience when I reached to podium. And more than anything, I couldn’t wait to share with them all these women’s wonderful success stories!

Nervously, when it was my time to shine, I approached my podium and looked out into the audience: my professors/faculty from gender, sexuality, and feminist studies were there in support, my peers from both GSFS and the sciences who heard about the talk were there in support, but something wasn’t quite right. I looked around the large lecture hall  - only one of my professors from the sciences (who coincidentally, I had not previously talked to about my work) was there in support of women in the sciences. 

I didn’t understand. Many of the professors in the sciences had heard about my work directly from me. And when I talked to them about my work, they thought it was great - some even had little snipits to tell me about their experiences as well. I had even just spoken to my science research advisor about my presentation (just an hour before my talk) and he still did not show. My neuroscience academic advisor, who told me that she hoped the very stories I was presenting on fueled my desire to enter the sciences, did not show either. Was my wanting to get more recognition for women in the sciences only something they were willing to support in private? And if so why?  I didn’t think my presentation was charged or made people uncomfortable in any way - I was merely sharing these women’s stories. 

To me, this whole matter was confusing and left me feeling like my hard work suddenly had no value. Curling up into a ball, planning to just forget it all, and thinking that maybe people just weren’t interested in learning about women in science, the one science professor who showed up to my talk sent me a response email. 

This is what he said: Just wanted to show my support. Women scientists have strongly inspired me and have shaped my career. In addition to the women you mentioned, here’s my list

:Christiane Nusslein-Volhard (developmental biologist, Nobel prize, Physiology and Medicine, 1995)
Carla Shatz (developmental neurobiologist, visual cortex, member National Academy of Science)
Kalpana White (developmental neurobiologist, my undergrad advisor at Brandeis)
Cori Bargmann (neurobiologist and head of the BRAIN initiative)
Gina Turrigiano ( neurobiologist, MacArthur fellow, taught me neuroscience at Brandeis)
Miriam Goodman (friend and colleague, and co-author, now at Stanford)
Lucinda Carnell (friend and colleague now at Central Washington University)
Amazing people.

I was re-inspired. Here was a professor who got it, and took a little time to validate all the work I had been doing. Furthermore, he gave me a list of women who he as looked to for inspiration too! He hadn’t even spoke to me about my project before, and here he was - showing his public support for women in science. To that professor - thank you for showing me that people care and thank you for strongly inspiring me and shaping my future career in the sciences! 

University of Michigan -  (Ann Arbor, MI, USA)

Michigan Send More university students in the Faculty of Medicine of any other school in America.
And it included a fun college town of Ann Arbor on behalf of the College Town number one in 2010 by Forbes magazine.
Nearly half of the student body graduated in the top five percent of their class, and graduated two-thirds in the top ten.
Michigan runs one of the largest health-care facilities in the world, and gives students access to first-class computer, and has a library system with holdings of more than 10 million volumes completely.
With 51,000 students and 5,600 faculty members spread over three locations, leading the campus of Michigan State University, it is a major research university with a very expansive network of graduates that these figures Grant.
Students have 17 distinct schools and colleges 0.588 disciplines, more than 600 student organizations and a number of stunning 350 concerts annually and concerts to choose from.
It is not surprising that the school attracts students from all 50 states and more than 100 countries.
Faculty members at the university and include many of the recipients of the Pulitzer Prize, Guggenheim and MacArthur Fellows, and recipients Emmy Award. Eight the number of Nobel winners from among the graduates of the school award.

“My responsibility as an artist is to work, to sing for my supper, to make art, beautiful and powerful, that adds and reveals; to beautify the mess of a messy world, to heal the sick and feed the helpless; to shout bravely from the rooftops and storm barricaded doors and voice the specificity of our historical moment." 
–Carrie Mae Weems, MacArthur Fellow