Author: Lizet Rodriguez (Page 2 of 2)

Bruno Verduzco, a Princeton student with roots in Mexico City, has quickly become a standout figure on campus, known for his deep passion for politics, human rights, and the arts. As the Publicity Chair for *Más Flow* and an active leader in the NGO *TECHO México*, Bruno has demonstrated a unique ability to connect with people and inspire change. Despite his last name, Verduzco, meaning “dark green,” his personality is anything but – described by Vicky Caballero Quinn as “dependable, energetic, and bubbly,” he radiates positivity wherever he goes.

Reflecting on their first true connection, Amanda Hugas recalls, “I had seen Bruno around at various events and social gatherings during our freshman year at Princeton, but we really connected during Más Flow auditions. Despite his tall, lanky frame, he had a confident salsa step, and his positive energy and smile immediately made me feel we’d click.” This energy carried over as they spent time practicing together, bonding over their shared love for dance.

Beyond his lively presence in group settings, Bruno is also the kind of person you can sit with for hours in deep conversation. He’s the kind of person you could speak to for hours, and you can feel that he genuinely cares about people on a fundamental level. Our coffee chats have lasted for hours, and moments lying on Cannon Green just talking have made me feel truly safe and secure in our friendship.

Bruno’s dedication to social causes extends beyond campus involvement. With years of experience at TECHO México, where he has led initiatives from hurricane relief efforts to housing development, he is committed to making a tangible difference in the fight against poverty in Latin America. While sometimes uncertain about the future, Bruno’s passion for art, politics, and advocacy continues to drive him forward as he seeks to blend these interests into a career in international human rights.

Sources:

Amanda Hugas

Vicky Caballero Quinn

Lizet Rodriguez

Bruno Verduzco

When telling a story, journalists need to maintain accuracy and not distort facts to heighten emotional impact. The emotional angle, however, is equally important because it helps readers connect with the human experience behind the facts. This duality is crucial, especially when discussing historical events like the collapse of the Iron Curtain. The journalist must ensure that the history is not sensationalized or oversimplified, while also making the story engaging and relevant to readers.

In The Picnic, the author’s approach to mixing historical facts with personal anecdotes allows readers to engage more deeply with the material. By grounding a large historical event in personal stories—like Nemeth receiving a threatening envelope—the abstract political narrative of the Iron Curtain becomes personal, humanizing the political shifts and tensions.

The use of sensory details, such as the envelope scene, is a brilliant narrative technique. It connects the political struggles with individual lived experiences, allowing readers to understand the personal stakes involved. This approach helps break down dense historical topics into more relatable and accessible moments, making the broader story of the Iron Curtain easier to digest.

What are your thoughts on how this narrative technique compares to traditional academic historical writing? Do you feel that the blend of personal anecdotes in The Picnic serves the educational purpose more effectively?

The use of short, impactful sentences, such as “Nemeth had steered himself for a fight. But Gorbachev merely responded: That’s your responsibility,” serves to heighten the tension and emotional weight of the moment. The brevity of these sentences mirrors the abruptness of the interaction, underscoring the contrast between Nemeth’s expectation of a confrontation and Gorbachev’s unexpectedly calm response. Short sentences like these strip away unnecessary complexity, drawing the reader’s attention to the core of the exchange and allowing the gravity of the situation to resonate more deeply. This technique not only accelerates the pacing of the narrative but also lends a sense of immediacy, making historical moments feel personal and raw. How does the use of such concise language shape the reader’s perception of power dynamics in this exchange?

Over the summer, I also became very interested in the idea of writing as a form of shaping collective memory. Through my summer in Argentina I learned about the intersections between collective memory and art as a form of activism. In Argentina, the Mothers of Plaza de Mayo helped keep the memory of people that disappeared by the hands of the government. The collective memory of that time includes both the triumph of freedom and the trauma of repression, that make the topic complicated to fully address. Journalism has become a form of information that people can access easily and in large quantities. How do you see the role of journalism in shaping collective memory, especially when it comes to major historical events like the collapse of the Iron Curtain?

Questions for the Author for Class:

Can journalism, through storytelling, change the way people interpret historical events, and if so, to what extent do journalists hold responsibility for these interpretations?
How do you handle instances where historical facts may conflict with personal anecdotes that are central to a compelling narrative?
How did you find this story and why?