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	<title>Salon.com > Camille Peri</title>
	<atom:link href="http://www.salon.com/writer/camille_peri/feed/" rel="self" type="application/rss+xml" />
	<link>http://www.salon.com</link>
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		<title>Don&#8217;t call her Mrs. Corleone</title>
		<link>http://www.salon.com/2008/06/26/eleanor_coppola/</link>
		<comments>http://www.salon.com/2008/06/26/eleanor_coppola/#comments</comments>
		<pubDate>Thu, 26 Jun 2008 10:16:00 +0000</pubDate>
		<dc:creator></dc:creator>
				<category><![CDATA[Arts]]></category>
		<category><![CDATA[All Salon]]></category>
		<category><![CDATA[Author Interviews]]></category>
		<category><![CDATA[Books]]></category>
		<category><![CDATA[Nonfiction]]></category>

		<guid isPermaLink="false">http://www.salon.com/books/int/2008/06/26/eleanor_coppola</guid>
		<description><![CDATA[Eleanor Coppola -- Francis Ford's wife and Sofia's mom -- talks about life in a famous Italian-American family and finding her artistic voice.]]></description>
			<content:encoded><![CDATA[<p>A friend once told Eleanor Coppola, "Life is like knitting an argyle sock. You can't see the pattern until you're nearly finished." In her new book, <a href="http://www.amazon.com/gp/redirect.html?ie=UTF8&amp;location=http%3A%2F%2Fwww.amazon.com%2FNotes-Life-Eleanor-Coppola%2Fdp%2F0385524994&amp;tag=saloncom08-20&amp;linkCode=ur2&amp;camp=1789&amp;creative=9325">"Notes on a Life,"</a> Coppola takes up the work she started 30 years ago in "Notes on the Making of Apocalypse Now": her struggle to establish her own professional identity in the dynamic, engulfing world of America's first family of film. It's a battle that she often seems to be losing, but by the end of her second book, as she nears the age of 70, the threads of an artistic life stitched together in starts and fits emerge into a beautiful, integrated pattern. </p><p><a href="http://www.salon.com/2008/06/26/eleanor_coppola/">Continue Reading...</a></p>]]></content:encoded>
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		<slash:comments>19</slash:comments>
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		<item>
		<title>Prayin&#8217; hard for better dayz</title>
		<link>http://www.salon.com/2005/11/28/peri/</link>
		<comments>http://www.salon.com/2005/11/28/peri/#comments</comments>
		<pubDate>Mon, 28 Nov 2005 12:26:00 +0000</pubDate>
		<dc:creator></dc:creator>
				<category><![CDATA[Life]]></category>
		<category><![CDATA[All Salon]]></category>

		<guid isPermaLink="false">http://www.salon.com/life//feature/2005/11/28/peri</guid>
		<description><![CDATA[While I battled cancer, I also had to deal with my teenage son's embrace of hip-hop culture.]]></description>
			<content:encoded><![CDATA[<p> I have to tell you: I hate rap. I hate the bitches and the asses and the 'ho's. I hate the in-yo'-faceness, the pumped-up testosterone, the butted-out chests, the finger-jabbing, the ice, the six-packs, the balloon pants, the rings like brass knuckles. The pervasive boxer shorts, the Jockey bands where belts used to be. In yo' face is not an attempt to connect. It means shut up, stay away. <i>Move bitch. Get out the way</i>, as the song says. </p><p> I know the socioeconomic justifications and the political roots. I like some of the bravado and the clever wordplay. There are songs that have opened my eyes and forced me to think. But most of it pretends that glamorizing guns and <i>gangstas</i> is keeping it real; it is misogyny decked out like a Courvoisier ad. <i>I'm into havin' sex, I ain't into makin' love</i>, 50 Cent sings. No intimacy or mystery or love, God forbid any allusion to or regard for what comes next. Just poses and postures selling a crude idea of what it means to be a man. </p><p><a href="http://www.salon.com/2005/11/28/peri/">Continue Reading...</a></p>]]></content:encoded>
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		<slash:comments>53</slash:comments>
		</item>
		<item>
		<title>Dancing with death</title>
		<link>http://www.salon.com/1999/05/05/dancing/</link>
		<comments>http://www.salon.com/1999/05/05/dancing/#comments</comments>
		<pubDate>Wed, 05 May 1999 16:00:00 +0000</pubDate>
		<dc:creator></dc:creator>
				<category><![CDATA[Life]]></category>
		<category><![CDATA[All Salon]]></category>

		<guid isPermaLink="false">http://www.salon.com/life//feature/1999/05/05/dancing</guid>
		<description><![CDATA[The loss of a child leaves a hole  in your heart that never heals.]]></description>
			<content:encoded><![CDATA[<p>Rose opens her eyes and he is there -- his breath soft on her face, hollow little chest, eyes lit like half-moons in the night. When he was 4, nightmares of fire would send him bursting into their bed to wedge his body between hers and his father's. Now he is whispering to her to come and see the midnight stars. They stand outside, two tiny human figures under an enormous sky. Rose is shivering in her robe and slippers. Toby's feet are on the ground but his head is floating somewhere above, her 8-year-old guide through the galaxy.</p><p>Rose opens her eyes again. He is not there. Toby, the eldest of her three sons, died eight years ago, but he comes back to her often in her dreams. <i>A parent's worst nightmare.</i>  Now she wonders, Is that watching your child die or outliving him? For a while, it seemed that she was sentenced to live out the nightmare literally. Sleep would plunge her back into his early dreams of burning buildings and dizzying cliffs, and she would be helpless to save him. After a while, his dream-self got older. Now sometimes he is a young man, robust and healthy, as he was before cancer killed him at the age of 30. When she has these dreams, she knows it will probably be a good day.</p><p><a href="http://www.salon.com/1999/05/05/dancing/">Continue Reading...</a></p>]]></content:encoded>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Can this marriage be saved?</title>
		<link>http://www.salon.com/1998/01/23/cov_23feature/</link>
		<comments>http://www.salon.com/1998/01/23/cov_23feature/#comments</comments>
		<pubDate>Fri, 23 Jan 1998 11:55:00 +0000</pubDate>
		<dc:creator></dc:creator>
				<category><![CDATA[Life]]></category>
		<category><![CDATA[All Salon]]></category>
		<category><![CDATA[Bill Clinton]]></category>
		<category><![CDATA[Coupling]]></category>
		<category><![CDATA[Divorce]]></category>
		<category><![CDATA[Hillary Rodham Clinton]]></category>
		<category><![CDATA[Infidelity]]></category>
		<category><![CDATA[White House]]></category>

		<guid isPermaLink="false">http://www.salon.com/life//feature/1998/01/23/cov_23feature</guid>
		<description><![CDATA[The latest White House firestorm is certainly testing Hillary Clinton&#039;s resolve to stand by her man.]]></description>
			<content:encoded><![CDATA[<p><b>S</b>ix years ago, when Bill Clinton's presidential bid was rocked by the first "bimbo eruption," the Gennifer Flowers allegations, it was Hillary Rodham Clinton who responded first, saving his campaign with her passionate defense of their marriage. "That's an issue [faithfulness] that we are very comfortable with in our marriage," she said on the eve of the 1992 New Hampshire primary. "We love each other. We support each other ... We've stood by each other through thick and thin."</p><p>Wednesday, while the president awkwardly struggled to make his denial of the latest bimbo explosion, the Monica Lewinsky affair, stronger and more convincing as the day wore on, Hillary Clinton again stood by her husband, saying emphatically that she believed the latest allegations were false and politically motivated. But this latest controversy, involving a woman not much older than the first couple's daughter who worked in their home, may be the ultimate test of the Clintons' relationship.</p><p>Can this marriage be saved? Even if Kenneth Starr fails to dig up proof of adultery and perjury in the Oval Office, will the strain of battling through one more public scandal be enough to destroy the first marriage? Salon canvassed a range of Clinton intimates, observers and  psychologists for their views of whether the Clintons will survive the latest barrage of media scrutiny and allegations.</p><p><a href="http://www.salon.com/1998/01/23/cov_23feature/">Continue Reading...</a></p>]]></content:encoded>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>My grandmother, the godfather</title>
		<link>http://www.salon.com/1997/07/28/godfather970728/</link>
		<comments>http://www.salon.com/1997/07/28/godfather970728/#comments</comments>
		<pubDate>Mon, 28 Jul 1997 17:15:00 +0000</pubDate>
		<dc:creator></dc:creator>
				<category><![CDATA[Life]]></category>
		<category><![CDATA[All Salon]]></category>

		<guid isPermaLink="false">http://www.salon.com/life//feature/1997/07/28/godfather970728</guid>
		<description><![CDATA[She who stirs the pot, wears the pants]]></description>
			<content:encoded><![CDATA[<p><b>J</b>ohnny Fontaine, the Sinatra clone in "The Godfather," is<br />
caught in a private moment of weakness in the shadows of Vito Corleone's<br />
study, away from the adoring swoons of his female fans. His face hidden in<br />
his hands, he whispers that his voice has gone weak and his career is<br />
faltering, thanks to a certain female actress who has made him lose his<br />
senses. "You let women dictate your actions and they are not competent in<br />
this world, though certainly they will be saints in heaven while we men<br />
burn in hell," admonishes the Don, exhorting him to stop whimpering about<br />
his voice and act like a man. It is the kind of wisdom about family and<br />
manhood and business that the Mafia hero dispenses throughout the film --<br />
and that took on a jarring new dimension when author Mario Puzo announced this spring that<br />
the old Don himself was actually based on, well, his <i>mother.</i></p><p>"Whenever the Godfather opened his mouth, in my own mind I heard the<br />
voice of my mother," Puzo confessed in the new preface to his novel "The<br />
Fortunate Pilgrim," which was re-released in April. "I heard her wisdom,<br />
her ruthlessness, and her unconquerable love for her family and for life<br />
itself, qualities not valued in women at the time."</p><p><a href="http://www.salon.com/1997/07/28/godfather970728/">Continue Reading...</a></p>]]></content:encoded>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>birth doctor, mother, abortionist</title>
		<link>http://www.salon.com/1997/06/23/abortion970623/</link>
		<comments>http://www.salon.com/1997/06/23/abortion970623/#comments</comments>
		<pubDate>Mon, 23 Jun 1997 08:37:00 +0000</pubDate>
		<dc:creator></dc:creator>
				<category><![CDATA[Life]]></category>
		<category><![CDATA[All Salon]]></category>
		<category><![CDATA[Abortion]]></category>
		<category><![CDATA[Motherhood]]></category>

		<guid isPermaLink="false">http://www.salon.com/life//feature/1997/06/23/abortion970623</guid>
		<description><![CDATA[An intimate conversation with a woman on the front lines of America&#039;s most emotionally charged debate.]]></description>
			<content:encoded><![CDATA[<p><font color="#000088"><b>An intimate conversation with a woman on the front lines of America's most emotionally charged debate.</b></font></p><p><font size="-1"><a target="_top" href="http://www.salonmagazine.com/archives/welcome/biography.html#peri">BY CAMILLE PERI</a> | </font>She knows it is killing, but she doesn't believe it is wrong. As a<br />
doctor, she has performed hundreds of abortions, but as a mother of three<br />
small children, she has been forced to reexamine the values that propelled<br />
her to become pro-choice. Over time, says Dr. X, who requested anonymity out of concern for her safety and that of her family, her views about abortion have changed.</p><p>That kind of admission is rare in a public debate in which the truth<br />
has generally been the first casualty. The latest battle in this epic war has raged<br />
over "partial birth" or "late-term" abortion (depending on whose language<br />
you use), with pro-life activists charging that some women are terminating their pregnancies in the final days before delivery for reasons as trivial as not<br />
being able to fit into a prom dress -- a sensational charge that was never substantiated. The pro-choice side lost some of its own credibility when<br />
Ron Fitzsimmons, executive director of the National Coalition of Abortion<br />
Providers, announced that he and his colleagues had similarly misled the<br />
public by claiming that late-term abortions were performed rarely and only<br />
on women whose lives were in danger or whose fetuses had multiple<br />
deformities -- true for last-trimester abortions, but not necessarily for<br />
those done earlier.</p><p><a href="http://www.salon.com/1997/06/23/abortion970623/">Continue Reading...</a></p>]]></content:encoded>
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		</item>
		<item>
		<title>Why it&#039;s time for mothers who think</title>
		<link>http://www.salon.com/1997/06/16/mamafesto970616/</link>
		<comments>http://www.salon.com/1997/06/16/mamafesto970616/#comments</comments>
		<pubDate>Mon, 16 Jun 1997 17:40:00 +0000</pubDate>
		<dc:creator></dc:creator>
				<category><![CDATA[Life]]></category>
		<category><![CDATA[All Salon]]></category>
		<category><![CDATA[Children]]></category>
		<category><![CDATA[Motherhood]]></category>

		<guid isPermaLink="false">http://www.salon.com/life//feature/1997/06/16/mamafesto970616</guid>
		<description><![CDATA[Two months before her first child was born, Jane Smiley was suddenly struck by the seeming contradiction of teaching a course on Kafka and being pregnant. First, she wondered, would the baby somehow be marred for life by its in utero exposure to literature&#8217;s master of gloom? Second, would she be forced to repudiate great [...]]]></description>
			<content:encoded><![CDATA[<p><font color="#000000"><b>Two</b> months before her first child was born, Jane Smiley was suddenly struck by the seeming contradiction of teaching a course on Kafka and being pregnant. First, she wondered, would the baby somehow be marred for life by its in utero exposure to literature's master of gloom? Second, would she be forced to repudiate great novels with grim parent-child relationships such as "Native Son" or "To the Lighthouse" for family romps like "Please Don't Eat the Daisies"?  But in giving birth to a child, Smiley found that she also gave birth to her subject, the interplay of love and power that was the seed of her  novel "A Thousand Acres." "Far from depriving me of thought, motherhood gave me new and startling things to think about and the motivation to do the hard work of thinking," she wrote in her essay "Can Mothers Think?"</p><p><a href="http://www.salon.com/1997/06/16/mamafesto970616/">Continue Reading...</a></p>]]></content:encoded>
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