Beth Cooper-Chrismon is director of individual giving at Sojourners. (You may have received emails from her; she crafts every one of them lovingly by hand.)
Beth has worked at Sojourners since April 2015 and has served as the donor services associate, database administrator, and supervisor of the donor services team. Previously, she worked as a major donor prospect researcher for political and nonprofit clients.
Beth is a graduate of Georgetown University’s Walsh School of Foreign Service, where her studies focused on the role of religion in 20th century Middle Eastern-European relations. While attending Georgetown, she enrolled in one of Jim Wallis’ courses, and this experience led her to seek out further involvement in Sojourners’ mission, ministry, and advocacy.
Beth lives in Washington, D.C., where she enjoys trail running, loud guitar music, Dungeons and Dragons, and critically acclaimed MMORPG Final Fantasy XIV.
Posts By This Author
Grief and Cheap Grace in ‘WandaVision’
Grief is a powerful, disorienting thing, as so many can attest this second Lenten season of a global pandemic that has claimed more than 2.5 million lives. “I’m so tired,” says Wanda Maximoff in the penultimate episode of Disney+ and Marvel Studios’ hit show WandaVision. “It’s just like this wave washing over me again and again. It knocks me down, and when I try to stand up, it just comes for me again. And I … it’s just gonna drown me.” Wanda is referring to the loss of her twin brother, Pietro, but the picture of grief is familiar.
'Avengers: Endgame' Is a Love Letter to Human Imperfection
The first line of Avengers: Endgame is “Do you know where you’re going?” And the story that follows, the final chapter of a saga 11 years in the making, is an attempt by the deeply flawed, deeply human protagonists at wrestling with that question — what is our path, do we know it, and can we change it?
I Gave Up Social Media For Lent, and I'm Here to Tell You: That Was a Great Choice
May this insight be useful to you all. And may you feel minimally conflicted when you share it on Facebook.
The Oppressive Whiteness of Taylor Swift's 'Wildest Dreams'
Taylor Swift’s controversial new music video, “Wildest Dreams,” is intended to evoke awe of the “wildest” of African landscapes: pure natural beauty, “undiscovered” and “untarnished” — and entirely without Africans.
Perhaps because this video launched soon after Ms. Swift’s recent race- and privilege-related feud with Nicki Minaj, or because at the time of writing, the video has reached nearly 25 million views since its release on Aug. 30, response to the video has been intense. Reading articles on both sides was a conflicting experience, as a young white woman raised on fashion magazines, classic cinema, and the idealization of “old Hollywood.” Can we love and appreciate those films without endorsing that oppression? Is it possible to create an homage to them without endorsing them entirely? In short — how can we free ourselves from the cognitive dissonance of outwardly condemning racism, misogyny, and colonialism while still internally glorifying images and ideals that are built upon them?
The answer to this question may lie in other, more nuanced, portrayals of midcentury American culture.