Why Kamala matters

New-school DA Kamala Harris is on a mission to remake the American way of justice, with a unique combination of prosecutorial power and the reformer’s belief in second chances. Considering her drive, charm, and friends like presidential hopeful Barack Obama, she may just be a law-and-order progressive’s best hope.

Nina Martin, Photo by Mona T. Brooks

A few years back, when Kamala Harris was prosecuting sex abuse cases in Alameda County, she spent a lot of time at Oakland’s Highland General Hospital talking with rape victims—young girls, old women, kids who’d been abused by people they trusted and loved. Describing what had happened would have been grueling for them under any circumstances, but the shabby surroundings somehow made the process even more painful. “It was just horrible,” Harris remembers. “I looked around and thought, ‘A person who is already traumatized shouldn’t have to spend hours in a place like this.’” So she got together a few women friends and formed a volunteer auxiliary group to spruce the place up. “I said, ‘Let’s get some art in here. Let’s paint.’”

Flash forward to 2004, when Harris took over the San Francisco District Attorney’s Office as the city’s first female and first African American DA. Instead of the major staff shake-up some were expecting, again she summoned the painters, who gave the old industrial greenish-gray corridors a coat of peachy beige. Down came the tattered domestic violence posters; up went student canvases from the Academy of Art. “It was the first time in 30-plus years anyone painted our offices for us,” says a wistful Linda Klee, a recently retired assistant DA who had been there since 1972.

Harris lets out a laugh when I remark on her proclivity for making things prettier; she’s spent the whole morning letting me tag along so I can see her take-charge, policy-wonk side, and now I’ve gone and caught her being Martha. With the press, Harris isn’t yet used to being captured, or interpreted, in ways she can’t control, and she seems both amused and a bit taken aback. But it’s clear to me that this impulse of hers is worth examining. Redoing the walls wasn’t just a stereotypically feminine way of making herself feel more at home, although there may have been an element of that. Harris has always loved art—in fact, she won prizes for her drawings and paintings as a kid. And she believes strongly in appearances: an attractive, organized office gives the public confidence and helps the people who work there stay focused and productive.

Finally, as she tells me later, she sees parallels between the victims of abuse she’s championed throughout her 17-year career and the staff she inherited from her predecessor, Terence Hallinan. An old lefty firebrand, Hallinan never seemed to understand or value the role of prosecutors, even after he became one; he spent eight years turning the office upside down, and it showed. “There was a real dysfunction that had developed in this office, where people were very afraid,” Harris says—afraid of getting fired (one awful Friday, 14 people returned from lunch to find pink slips on their chairs), afraid of backstabbing by their colleagues, even afraid of going to good-bye parties and writing letters of recommendation for those who’d

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