Subtitle The Lazarus Project
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subtitle The Lazarus Project
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As part of the broader study, in August 2018, in-depth interviews were conducted with fifteen pregnant women in their ninth month of pregnancy in Behta block of Sitapur district in UP to understand the nuances around IFA consumption during pregnancy. Six interviewers (hereafter referred to as Research Assistants, RAs) were selected from among the existing project staff in Sitapur district, as they best understood the project context. The RAs were frontline staff of the nutrition project based at a sub-block level, trained in maternal, infant and young child nutrition as part of the larger project. Their primary responsibility was to mentor and provide on-the-job support to Government of India frontline workers (namely AWWs and ASHAs) to deliver high quality maternal, infant and young child nutrition services. All six RAs had graduate degrees, with more than 2 years of experience working at the community level. The RAs participated in a one-day training led by the project technical experts on the study objectives, how to use the timeline maps and the interview guides. RAs practiced using the tool on each other during the training sessions. Prior to actual data collection, the RAs practiced interviewing at least two pregnant women in their catchment areas using the timeline maps. A debrief was held after their practice sessions to respond to any queries or concerns. Signed informed consent was obtained from the pregnant women prior to the start of the interviews. A data collection team of two RAs conducted the interviews using a semi-structured interview guide and the timeline map. The interview guide comprised open-ended questions on different aspects of ANC, with a focus on IFA consumption. Questions included time of registration of pregnancy, ANC services received, IFA/anemia counselling received, number of IFA tablets received during each ANC visit, and patterns in IFA consumption. Of the two RAs, one acted as the moderator and constructed the timeline map, while the other team member was a note-taker and managed the logistics of the interview. While the data from the interviews with the pregnant women are not presented in this paper, a sample timeline map has been included ( Figure 2).
For confidentiality reasons, the transcript of the focus group is not available; the focus group discussion was with six individuals who are still employed with the project. It should be noted that all relevant aspects of the focus group discussion have already been included in the article as quotes.
The FGD appears to be the core of the study in terms of the results reported. Considering changing the subtitle before the FGD paragraph to be more descriptive e.g. "FGD with RA to assess their experience with the map"
Methods The FGD appears to be the core of the study in terms of the results reported. Considering changing the subtitle before the FGD paragraph to be more descriptive e.g. "FGD with RA to assess their experience with the map"
The first piece in Evie Shockley's 2011 collection the new black, "my last modernist poem, #4 (or, re-re-birth of a nation)," constitutes the fourth installation in "an occasional series" of texts that Shockley designates "son-nots" because "they look like sonnets but they're not." (2) This disruption of the traditional expectations derived from a poem's layout on the page exemplifies Shockley's strategies well; easy legibility recedes from view, forcing readers to grapple with complexities of both form and content. Even this first poem's title initiates that struggle, as juxtaposing the phrase "my last" with "#4" complicates the very definition of ending. Further, the subtitle "(or, re-re-birth of a nation)" plays on D. W. Griffith's 1915 film The Birth of a Nation, infamously screened in the White House for President Wilson, who allegedly lauded it as "writing history with lightning." (3) This implicit presidential reference heralds the poem's topic: the presence of "a clean-cut man" in that very White House who "brings a brown blackness / to a dream-carved, unprecedented / place" (1-3).
In both the subtitle phrase "re-re-birth" and in these opening lines' allusion to President Obama, Shockley highlights the inevitable repetitiveness with which racialized discourses reappear throughout American history. Her "son-not" demonstrates how fallacious it is to locate in Obama's election "the end of race," a phrase that Shockley qualifies: "like the end of a race that begins / with a gun: a finish(ed) line we might / finally limp across" (4-6). Instead of true finality, she substitutes another image of repetition, marked as potentially fatal rather than beautifully renewing: "for others, / this miracle marks an end like year's / end, the kind that whips around again / and again: an end that is chilling, / with a lethal spring coiled in the snow" (6-10).
The poem's final stanza reiterates this repetition through the symbol of Lazarus: "ask lazarus about miracles: / the hard part comes afterwards. he stepped / into the reconstruction of his / life, knowing what would come, but not how" (11-14). The word "reconstruction" obviously evokes that never-finished chapter in our nation's history, the incompletion of which left Black Americans subject to the Jim Crow regulations that dominated the country until the Civil Rights Movement initiated another "rebirth." Concluding with this sense of knowing "what would come, but not how" reveals the futility of labeling any gesture the "last" or any "rebirth" total, as Shockley demonstrates how such issues invariably recur throughout American history. 041b061a72