Most health policy meetings are a dull gray snooze of business suits talking data. They seem a million miles removed from making sick people healthy. But this week in Washington, D.C., some of those meetings was enlivened by a sudden flash of color.
The back of one woman's suit jacket bore a painting, a Renoir-like portrait of a mother and child. A man's blazer showed him reborn after years of despair. Another woman's jacket portrayed a young man holding his organ donor card. A petite redhead's jacket blazed with a scarlet letter "A."
She found her brother's finger in the grass by the shed.
The grass glistened with the morning dew, but the finger did not.
She picked it up. She had seen it fall. He'd been running for the house, away from the toolshed, and he'd been holding onto the finger and onto the space where the finger had been, and despite his concentration, and in his haste, he had let go of the one to hold on tighter to the other.
The door slam is meant to be symbolic, I can tell, one last "take that!" in our roiling argument. But that door never did fit right in the frame, so it swings back open, revealing the heel of his departing shoe and the flick of his coat as he swings around the corner. I hear his footfalls stop, and imagine him pondering a return to slam the door, for real this time.
The Chicago Sun-Times made a surprise announcement last week: it fired its entire photography staff. Pulitzer Prize winning photojournalist John White worked there for more than forty years. He talks to guest host Celeste Headlee about what this news means for him personally and the future of photojournalism.