Midway through Elizabeth Colomba and Aurélie Lévy's new graphic novel, Queenie: Godmother of Harlem, the viewer is confronted with a harrowing scene. The protagonist, a young Afro-Caribbean immigrant named Stephanie Saint Clair, is on a bus traveling South from New York City to escape an abusive relationship — when the Ku Klux Klan stops the vehicle. After ordering Saint Clair and all other Black passengers off the bus, the Klan violently assaults them. This was the first scene that New York-based artist Colomba drew and presented to publishers after she and Lévy, her longtime Paris-based collaborator, began scripting the project three years ago. "It's a pivotal moment in her life," Colomba said. "She could have been killed easily, and I'm sure they left her for dead. ... And so it's almost like the Phoenix, it's almost a miracle. There's something so powerful to transcend that." From the proverbial ashes of this moment, Stephanie Saint Clair, who also went by "Queenie," fashioned a new persona, one she would use while running the numbers game — the illegal lottery — during the height of the Harlem Renaissance. Set in 1933, in the wake of Prohibition ending, Queenie: Godmother of Harlem tells her story, which has largely been forgotten until now. Unfolding like a mob thriller, and interspersed with flashbacks to Saint Clair's childhood, the book follows her battle to retain her empire as rival gangs muscle in on her numbers racket. Colomba and writer Aurélie Lévy did intensive research into Saint Clair's life and the time period in which she lived. But they acknowledge that there were some details they had to fill in. For instance, historians disagree on whether Saint Clair was born in the French Caribbean island of Martinique or Guadeloupe. And it's unclear if she did in fact encounter the Klan. But incorporating that scene allowed the authors to explore the racial dynamics of the time that Saint Clair — who spoke English with a French accent — was up against, as well as her character's naïveté around being a Black woman in America. "Because she's from Martinique... she thinks she can get away with things. She thinks that she's not going to be seen as an African-American, but as either a French person or as somebody who is from the Caribbean," Colomba said, likening the character's encounter with American racism to a culture shock. Though Colomba and Lévy included many real figures — including Saint Clair's protégé Ellsworth "Bumpy" Johnson and rival mobsters Dutch Schultz and Lucky Luciano — others are fictional and intended to chip away at different layers of Saint Clair's experience and frame of mind. For example, Lévy and Colomba invented a white Jewish male character named Rosenfeld, who acts as a father-figure to Saint Clair and fronts her business. Lévy explained that this was necessary because, as a Black woman, Saint Clair would likely not have been able to make her own investments. "We felt a huge responsibility," Lévy said, reflecting on the writing process. "[Her story is] very dense historically. And then we had to find out as much as we could about her and then invent the rest," she said. "It was both a blessing and a curse to have those gaps." A curse because Saint Clair also carefully controlled her own narrative, so it's impossible to know what is true and what may be embellished. A blessing because Queenie was a larger-than-life gangster and fashion icon. In 1912, Saint Clair boarded a ship for New York City. By the 1920s, Saint Clair had established her numbers racket in Harlem, and within a few years, she was earning an estimated $200,000 a year, or $3.5 million today. As her empire and fortune grew, Saint Clair crafted a persona of wealth and power through advertisements she purchased in The New York Amsterdam News, a widely-circulated Black newspaper. The ads featured photographs of Saint Clair in fine clothing and jewelry. "It was propaganda," Lévy said. "You had to be pretty smart to understand the power of image." But Saint Clair also used the ads to advocate for Harlem's poor and Black residents. They included mini opinion pieces where she called out police brutality and corruption — often by name — and denounced unlawful searches. In this way, she helped educate her community on their civil and voting rights. Her business was also lucrative because Black people at the time were largely excluded from participating in legal forms of investing. Banks often refused to serve Black people and denied them loans. As a result, many saw the illegal lottery game as one of the few avenues for building wealth. "I think what blew us away about her was how forward-thinking, precocious and visionary she was," Lévy said. "And whatever she left you, she deliberately left. I think she was very careful about that." The graphic novel portrays Stephanie Saint Clair as a savvy, brilliant woman with an unusual knack for numbers, and depicts her transformation from precocious child longing to escape plantation life in Martinique into a woman who is at once ruthless and tender. Lévy and Colomba said they wanted to avoid the pitfalls of the biopic as they told Saint Clair's story. Both were well aware of the burden of representation that often accompanies Black characters who are the first of their kind. "Unfortunately, when we encounter figures that are people of color, there's a tendency to simplify and to make them reassuring. They either have to be really bad or really good. And it doesn't make them human," Colomba said. "I think by creating a layered character, it humanizes [Saint Clair]. Being complex is just being human." "And I think nothing testifies more of how hard times were than who you had to be to survive as a woman and all the more as a Black woman. So there's no way she could have been [one-dimensional]," said Lévy. Colomba said she first learned about Saint Clair through her mother, Lucíanne, a former school teacher and immigrant from Martinique who taught her children about their Caribbean roots, history and heroes. "My mother was always [making] a point to introduce us to figures from the Caribbean ... who have some power in culture and who she felt [were] important for us to know," Colomba said. "She always wanted for us to know more about our culture." The moment Colomba learned about Saint Clair, she was immediately captivated and wanted to know more, to understand how Queenie became the person she was. "When you are born in Martinique and just before the 20th century, your choices in life are slim. And it takes an incredible mind or tenacity to think that you deserve more. And for [Saint Clair], she decided at a very young age... to envision something bigger," Colomba said. And she and Lévy hope that Queenie's story will resonate with others, too. "There is something quite inspiring about someone who is so tenacious and decides that the box she was put in is not going to contain her," Colomba said. "She rewrote her own story. That's how I like to imagine her: as someone who controls the narrative," echoed Lévy. Edited by Mallory Yu

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Angela L. Harris is child-free by choice and says people often make comments about her decision or want to know all the details. "I should write a book about all these comments," she says. If you're child-free, you don't owe an explanation to anyone, says Harris, the founder of #NoBibsBurpsBottles, an online community for child-free Black women. "If you don't feel like explaining, don't explain. Your life is your life." If you do feel like responding, we shared some of her responses to common questions about being child-free in a recent interview with Life Kit host Marielle Segarra. We also asked our child-free listeners to share their go-to responses to questions from strangers and family members. From the blunt to the lighthearted, here are a few replies to add to your repertoire.

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Responses have been edited for length and clarity "We can't, our cats are allergic." — Jamie Blair "There are many things I'm good at doing, like juggling and removing stains, that I would never want to do all day and night for the rest of my life." —Genevive Bjorn "I'm 68 now, and my standard line for the last couple of decades is 'Oh! I forgot!'" — Trudy DiLeo "My husband and I decided not to have children long before we decided to get married. Someone: you know gay couples can have kids too?! Our response: 'We know; we keep trying to get pregnant, but nothing sticks.'" — Nicholas Tollar, Jr. "Hell, I can't even keep plants alive!" — Joan Chrislip "Children deserve someone who loves them and enjoys taking care of them, no matter the physical, mental, or financial toll — and that's why I will never have them." — Rosie Wilt "I would embarrass them too much." — Barb Bush "I never felt the desire to be a mother. I love the freedom of not having children. — Tracy Beasley "Just because I have ovaries doesn't mean I have to use them." — Kristin Charlton "I can't imagine why you'd ask such a personal question." — Penny Bonkowski "There are people in this world meant to be moms and dads, and there are people in this world meant to be aunts and uncles. The challenge in life is to recognize which one you are meant to be. I am meant to be an uncle."— Bruckner Chase "I love the life I have and the family I've built. There's nothing missing." — Amber Stockham "At a bridal shower early on in my marriage, one of [my mother-in-law's] relatives asked me 'When are you having children?' My mother-in-law, who was next to me, gently put her hand on my hand and answered for me (still the best response I've ever heard) 'You know, some of the happiest marriages have no children.'" — Nancy Jo Seaton "Children just aren't in the cards for us." — Jennifer Rowe "Humor is generally how my husband and I talk to others about our choice to not have kids. If people keep at it, I say that we both have many reasons for why we don't want kids, but the only reason that truly matters is that we don't want them." — Shelby Cooper "I prefer to borrow the children of others, spoil them, then send them home." — Sare Anuszkiewicz "This isn't a haircut; this is my life and the choices I'm making for it. If I'd said I wanted children, you wouldn't tell me to grow out of it." — Missy Ballinghoff "I love my husband, free time, and privacy too much to share them." — Elizabeth Gray "I'm an artist, I don't have time to raise a family." — Cheryl Kandel Gimson "I often get the comment, 'But you'd be such a good mom.' And I always just say, 'Thanks.' Not elaborating or explaining myself generally results in people changing the subject." — Lauren Zettlemoyer

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We'd love to hear from you. Leave us a voicemail at 202-216-9823 or email us at LifeKit@npr.org. Listen to Life Kit on Apple Podcasts and Spotify, or sign up for our newsletter.

The Texas Department of Agriculture is ordering its employees to comply with a new dress code, mandating they abide by it in a "manner consistent with their biological gender." An ACLU attorney says it violates federal law that bans employment discrimination based on one's sexual orientation or gender identity. In a copy of the April 13 memo first obtained by The Texas Observer, the new dress code — handed down by Sid Miller, the state's agriculture commissioner — is required by all employees as a part of a "dress code and grooming policy." "Employees are expected to comply with this dress code in a manner consistent with their biological gender," the new policy said. The new dress code restrictions for employees will replace the previous one outlined by the state agency's employee handbook, The Observer reported. The original dress code made no references to "biological gender." The new dress code policy will apply to all employees of the department — including interns and contractors, according to the policy. Those who violate the mandated dress code may face severe consequences and may be asked to leave the premises to change clothes that comply with the policy. If problems with an employee's dress continue, employees can face "remedies up to and including termination," the memo says. It's unclear whether the decision to change the dress code began within Miller's office or is a result of a mandate higher up within the state's government. The Texas Department of Agriculture did not immediately respond to NPR's request for comment about the new dress code.

The ACLU says the new dress code violates federal law

Brian Klosterboer, an attorney with the ACLU of Texas, told The Texas Tribune that the new dress code violates Title VII of the federal Civil Rights Act, which bans employment discrimination based on one's sexual orientation or gender identity, in addition to the First Amendment's right to free expression. "State agencies should be focused on doing their jobs and not discriminating against their own employees and trying to make political statements through their agency regulations," Klosterboer told The Tribune. "There is no important governmental interest that this can meet," he added. The new dress code comes on in the wake of several anti-LGBTQ bills and laws that have been introduced in the state over the last few years. Last year, Texas Gov. Greg Abbott directed the state's Department of Family and Protective Services to investigate certain gender-affirming care for transgender children as possible child abuse. In 2021, Abbott signed into law House Bill 25, which requires all public school students to compete in interscholastic athletic competitions based solely on their assigned sex at birth. The law, which went into effect in January 2022, made Texas the 10th state to enact similar legislation. Last year, nearly 300 anti-LGBTQ bills were filed during state legislative sessions. However, only 29 of those bills were signed into law.

A bat or a rat or a chicken has a virus. And somehow a person catches it — maybe by contact with the animal's blood or feces, maybe just by breathing in. That's a spillover. We've been exploring the topic of spillover viruses this year — when animal pathogens jump into people and can lead to outbreaks, even pandemics. In a series of radio and digital posts, we've covered a variety of viruses, from Marburg to Nipah to a mysterious new coronavirus found in Malaysia and Florida. We've interviewed disease detectives, and we've looked at how to stop the next pandemic. We also asked you to send us your questions on hidden viruses. Here are some of the queries, answered by the correspondents who contributed to our series. Get ready for a silly question: I love my pups very much – and I think they love me too because I get lots of kisses. Is that bad from a spillover virus perspective – for me or my dogs? Should I train my pups to be less ... kissy? We actually thought this question was relevant to the millions of people who enjoy a furry companion, so correspondent Michaeleen Doucleff wrote a separate story about it. They may indeed be giving you some germs with their love! Find out what that might mean. I just read your story about viruses jumping from animals into people frequently and I have a question: Do all viruses that jump make us sick? Is there a virus that confers an advantage to its host? – Kaveh Shoorideh No, not all viruses that make this jump cause us to become ill. In fact, the vast majority of spillover viruses don't make people sick. Even if a virus does make a human sick it won't necessarily spread. A virus that's too deadly will kill its hosts and peter out quickly, and a virus that's not sufficiently transmissible simply won't spread. The concern arises when a virus that's spilled over into humans causes some people to become very sick and infect others. Severe illness combined with high transmissibility makes for a virus that can spread and cause a lot of damage in its wake. It's unclear whether any spillover viruses are advantageous, but scientists do know that viruses more generally can be helpful to humans. Just take the fact that viruses have shaped our evolution. One study estimated that viruses have driven the adaptation of some 30% of mammalian proteins! They've been at least partly responsible for humanity's strong immune response to pathogens. Some viruses in our gut may even protect us from autoimmune diseases, such as Crohn's. And they're used in laboratories worldwide as tools for research (to help map circuits in the brain, for example). — Ari Daniel I'm assuming spillovers having been occurring since the beginning of time. Is there an uptick correlated to climate change? -- Debbie Stavish Climate change is indeed of great concern to scientists when it comes to increasing the opportunities for spillovers of viruses into humans. As average temperatures and humidity rise in a given region, virus-carrying mosquito species and animals that previously could not thrive there can now move in. Climate change has also increased the incidence of extreme weather events – massive rains and flooding are just one example – that have forced millions of people out of their homes and into camps where a virus can more easily spread. These new types of climate-driven situations obviously expand the chances for a previously unknown virus to make the jump from an animal into humans. But just as worryingly, they may amplify the incidence of existing spillovers that have already been happening at low levels for decades – threatening to turn minor nuisances into major disease outbreaks. An example is the mosquito-driven Zika epidemic that spread through the Americas from 2015 through 2016, causing thousands of children to be born with birth defects, including microcephaly, a medical condition involving a smaller than normal head and brain damage. Climate change could lead to longer warmer periods in which the mosquito that transmits Zika could thrive. South African-based Tulio de Oliveira is a researcher who helped launch an international effort to combat precisely this sort of climate change-amplified spillover possibility. The idea is for ecologists and data experts to collaborate with disease experts to hone in on locations where climate change seems particularly likely to amplify spillover events. Researchers will then make a point of taking blood samples and otherwise monitoring people in those areas to identify new pathogens circulating there and get the jump on developing diagnostics, therapeutics and vaccines against any new disease they find. That way, says de Oliveira, "if it starts to spread around the world, we'll know how to respond." — Nurith Aizenman Why are bats so often linked to spillover events and other pandemic outbreaks? Do they carry more viruses than other animals, and if so, why? Thanks for doing this series! -- Jodi McClory There's some fascinating work looking at bat biology and how the immune system of these animals may allow them to carry a large number of viruses without getting sick. It has to do in part with the bats' ability to suppress inflammation. They're the only mammal capable of flight, which requires a high metabolism to keep up. But that creates more stress on their bodies, which causes DNA damage and inflammation. Bats have evolved ways of minimizing this damage and repairing it when it occurs. By boosting their immune response, this ability to self-repair could keep viral infections circulating in their bodies without leading to illness. In addition, there's still some debate as to whether bats host more viruses than other mammals, but Cara Brook, a disease ecologist at the University of Chicago, says, "it is generally accepted that they host the most virulent viruses known to people." — Ari Daniel What components of a virus most frequently change during a spillover event? Spike proteins? Proteins involved in replication? And how do these changes contribute to allowing for successful spillover? Are certain types of viruses more likely to spillover than others and, if so, what types? What are the differences in symptoms of infection and transmissibility between the original animal viral host and the spillover animal host? -- Heather Thompson I'll take this in parts: One research study found that, "the majority (94%) of zoonotic viruses [spillover viruses] described to date are RNA viruses." The authors point out that this is 28 times higher than the proportion of RNA viruses among all viruses in vertebrates, "indicating that RNA viruses are far more likely to be zoonotic than DNA viruses" because they tend to transmit and evolve more rapidly. A virus can act differently in different species. For example, the species in which a virus primarily lives and reproduces, called the reservoir species, usually doesn't show signs of illness. As for which components of a pathogen are involved in a spillover, a virus can benefit if it targets something in one species that's shared across other species. For instance, SARS-CoV-2 enters the cell after attaching to the ACE2 receptor in our bodies (primarily in the lungs). A lot of other vertebrates have a similar receptor, which means that the coronavirus has found its way into many other animals, including deer, mink and hamsters. -- Ari Daniel I seem to recall a spillover virus that was killing horses in Australia. At some point it killed a horse trainer... [but] it never jumped global. -- James Day How likely is the virus Hendra to be a pandemic one day? -- Rachel Barnes The horse-killing virus was Hendra — and it's a dangerous disease. Bats are the natural reservoir. It doesn't make them ill but they shed the virus through their waste, and when horses come into close contact with bat urine or feces, they can catch Hendra. The horses that have been infected developed a frothy, nasal discharge and odd behaviors such as drinking water incessantly or throwing themselves against the walls of their stable. On a few occasions, people from in and around Brisbane and Queensland, Australia interacting with these horses then got sick from Hendra in a second spillover, including a trainer. Of the seven people who've had Hendra, four have died. Bats are more likely to shed Hendra virus when they're not eating enough, a scenario that's become more common due to climate change and habitat loss. But periods of winter flowering have provided bats with enough food to reduce the likelihood of spillover dramatically. Preventing animals other than bats from getting sick lowers the chances that Hendra could become a global pandemic in humans one day. — Ari Daniel Can frequent spillovers provide population-wide low-level immunity to viruses such as COVID-19? I ask because COVID-19 didn't get a grip in Cambodia until late February 2021 when tourists brought in the alpha variant. The original variant came into Cambodia a few times but the outbreaks died out. I've been thinking that one reason for the low transmission rate early on was that people had already been exposed to similar viruses via bats. -- Susan Smith There's some evidence for this idea that "repeated low-dose exposure can increase host immunity to infection," according to one team of researchers. This may be the reason, for instance, why those who handle poultry have been found to be less susceptible to avian influenza. And it may explain why some slaughterhouse workers in Nigeria had increased immunity to a different kind of coronavirus (called MERS-CoV) found circulating in the dromedary camels that were being slaughtered. The workers displayed no symptoms, leading one article to summarize, "The immunity that these individuals had acquired from, presumably, camel-adapted variants might be a further barrier to spillover of more human-adapted strains." But there are counter-examples from the world of bacteria. Tannery workers exposed to Bacillus anthracis, the bacterial species that cause anthrax, don't appear to have heightened immunity against the pathogen. So a population's ability to acquire low-level immunity to a pathogen is complex and likely depends on different factors. — Ari Daniel Have we learned enough from this pandemic to prevent the rapid spread of a new virus? -- Matt Giaquinto The COVID-19 pandemic has certainly raised global awareness of the power of a new and deadly virus. In some ways, it comes down to what was learned about public health messaging. That is, as researchers developed a better understanding of how SARS-CoV-2 was transmitted, health officials honed their recommendations to advise the public on how best to contain its spread. While the next pathogen with pandemic potential may be transmitted differently than COVID (a gastrointestinal virus, for instance, behaves quite differently from a respiratory virus), saving lives will still come down to providing clear, accurate and timely information and developing partnerships with trusted community leaders — even if some distrust the messaging. On the science side, researchers developed vaccines in record speed to combat SARS-CoV-2. The most widely used vaccines rely on new mRNA technology. These advancements will undoubtedly be of great help when the next unknown pathogen surfaces since mRNA vaccines can be developed quickly and flexibly. For an explanation of how mRNA vaccines work, here's an excellent Short Wave episode. And taking the 10,000-foot view, scientists are also getting better at knowing how to search for viruses of concern that have spilled over from animals. A more efficient hunt for problematic pathogens may help us stay a step or two ahead of a virus to shut it down before it becomes a full-blown pandemic. -- Ari Daniel

2022 was a banner year for Honey Dijon. She co-produced two of the fiercest tracks on Beyoncé's latest record, Renaissance, and she released her own studio album this fall, called Black Girl Magic. But Honey – one of the only Black trans DJs playing the biggest clubs in the world – has been a mainstay on dance floors for decades. And she's become a historian, and champion, of the Black musical traditions that house music draws from. In this episode, Honey talks to host Brittany Luse about using music to create spaces of liberation, and paving the way for future generations to do the same. The interview highlights below are adapted from an episode of It's Been A Minute. Follow us on Apple Podcasts or Spotify, and keep up with us on Twitter. These excerpts have been edited for length and clarity.

Interview Highlights

On collaborating with Beyoncé on Renaissance Brittany Luse: You were recruited by Beyoncé to work on her album, Renaissance, and you produced "Cozy" and "Alien Superstar." What was it like working with Beyoncé on that album and sharing your experiences of the scenes that made you? Honey Dijon: Well, first of all, I had to pick my jaw off the ground when that call came. I was like, "How does Beyoncé know about me?" It was so humbling to feel that the work, that your lived experience, was being acknowledged by someone of that caliber. One of the things that I was told from her team was that she wanted to make this a dance record and she wanted to go to the true source of Chicago house music. I think of so many people that have laid the groundwork for me to be able to express that. You know, I think of the Frankie Knuckles and the Ron Hardys and the Derrick Carters and all of these amazing artists that have gone before me. For Beyoncé to acknowledge that was just so gratifying, and it made me proud. I had to pat myself on the back. My mother always says, "You may see my glory, but you don't know my story." And I just thought about all of the years of being told, "no," or what I was doing was being misunderstood. So when that call came, it was such a proud moment for me. On the parties she went to as a teenager Luse: You are from Chicago's South Side. And Chicago was famously the birthplace for warehouse music, house music, for short. And that's where you started going to warehouse parties. Were you technically old enough to be out partying like did you have to sneak out of the house? Dijon: No! I lied and snuck out of the house, like most teenagers do, saying I was going to study homework at a friend's house and we would go out. And you could get a fake I.D. So I was a 13 year old dressing like I was 25. Luse: Talk to me about what those parties were like. What was the vibe? Dijon: Unfiltered abandon. You just had, you know, all this teenage energy and angst and community. And it was just electric. I always tell people, "You ain't been to a party 'til you've been to a party like how Black folks party." Because Black folks party were their entire being. Luse: It's true. Dijon: From the rooter to the to tooter. From the hair follicles to the toenails. We use every part of our body. On DJ'ing her own parents' parties Luse: Talk to me about the music that you would play at those parties. Dijon: So I would play my hour and then they would put me to bed. My bedtime was like 9 o'clock so I could play from 8 to 9. Luse: Before it got totally jumping, right. Dijon: But then we would go to bed, and around 11 o'clock, we would start hearing all this laughter and cursing, and we could smell the cigarette smoke and glasses breaking. And it was just like, what is this world? And we would sit on the top of the steps, and that's where I would hear all the music. You know, Michael Jackson, Chaka Khan. Minnie Riperton, the Isley Brothers. There was lots of Marvin Gaye. I like to call it Black consciousness music because it was post-civil rights. So those were the records I would play. Luse: So you're in your parents' house. You play music for their parties. Are you starting, at that age, to notice how people are responding to different songs? Dijon: Oh, yeah. I got off on just sharing the music. This sort of sense of fulfillment that just hasn't left me. I think I was just born to do this. On creating spaces of liberation through music Luse: Have you met and/or seen people be able to grow and find themselves in those late night parties that you DJ'd, the way that you were able to at that point in your life? Dijon: Well, in their own way, yes, of course. I mean, I see a new generation of kids coming up and I can tell that they feel a bit more liberated just by my existence and what I stand for. I've had people tell me they've met their spouses and future partners on my dance floor. "Oh, my boyfriend just proposed to me on the dance floor, and I wanted you to know." The club is community for me. And it always will be. So one of the things that I always tell people when they want to become a DJ, I say, "Well, why?" What is it that you want to do as a DJ? Do you want to contribute to culture? Do you have a voice that you want to connect people [with]? I build community through sound. And I try to create spaces of liberation.

The North London-based rapper Little Simz knows her worth. She may be an introvert, but she isn't faint-hearted, and on "Gorilla" she's keeping score: "Name one time where I didn't deliver," she assuredly raps on over a laid-back, plucking bassline. Over producer Inflo's steady break beat and surging streaks, she displays command of her punchy rhymes with a cadence so casual it feels as if she could deliver them in her sleep. The track closes the same way it starts: with the pomp and circumstance of booming brass notes. It's a declaration — Little Simz is here and she wants you to feel it. (A version of this review originally appeared on NPR Music's Best Songs of 2022.)