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"content": "\u003cp>Long before it became a polarizing litmus test of our new political spectrum, the story and history of undocumented migrants crossing America’s southern border was on Micheline Aharonian Marcom’s mind.\u003c/p>\n\u003cp>The novelist, who grew up in Los Angeles, spent her 20s in the East Bay teaching ESL and Spanish. She later worked in Oakland public schools as the assistant director of a college prep program for low-income, first generation students. When she began writing her latest novel, \u003cem>\u003ca href=\"https://www.simonandschuster.com/books/The-New-American/Micheline-Aharonian-Marcom/9781982120726\" rel=\"noopener noreferrer\" target=\"_blank\">The New American\u003c/a>\u003c/em>, several years ago, she was drawn toward the complex narratives of those coming from beyond Mexico.\u003c/p>\n\u003cp>“For me the big story in Mexico in 2012—and this is before anyone in the mainstream news was really talking about it here—was the story of what was happening to Central Americans as they migrated north,” says Marcom, who is currently sheltering in place in Sausalito and splits her time between the Bay Area and Virginia. “They, too, are undocumented in Mexico as much as the United States.”\u003c/p>\n\u003cp>Most of \u003cem>The New American\u003c/em> indeed takes place during the journey from Central America to and through Mexico—in migrant shelters and on La Bestia (“The Beast”), the infamously perilous freight train that countless immigrants use to traverse thousands of miles—rather than at the U.S. border.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At its center of the novel is Emilio, a 21-year-old Guatemalan desperately trying to get back home to his family in Berkeley. He has lived in America his whole conscious life, goes to UC Berkeley and only learns as a teenager that he is undocumented—a “Dreamer” who was brought into the U.S. as a child by his parents. After a stroke of unfortunate luck, he is deported, and his entire world suddenly vanishes. \u003c/p>\n\u003cp>But we only gather Emilio’s history slowly. Marcom grounds the book in the linear trajectory of migration. We learn of Emilio’s former life in bits and pieces, the same way he meets other travelers along the way, learning their stories in rough shades. Each backstory is invariably tinged with tragedy, suffering and desperation, circumstances that drove the characters out of their homes in countries like El Salvador and Honduras, where the homicide rates are among the highest in the world. As they make their way to the American border, there are only new perils. \u003c/p>\n\u003cfigure id=\"attachment_13885244\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/micheline-aharonian-marcom_1200.jpg\" alt=\"\" width=\"1200\" height=\"1140\" class=\"size-full wp-image-13885244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/micheline-aharonian-marcom_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/micheline-aharonian-marcom_1200-800x760.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/micheline-aharonian-marcom_1200-1020x969.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/micheline-aharonian-marcom_1200-160x152.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/micheline-aharonian-marcom_1200-768x730.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Micheline Aharonian Marcom \u003ccite>(Luco Parsons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marcom, whose work has often been experimental, says the great difficulty of the book was writing with simplicity, tracking plainly the harrowing trials of the journey—kidnappings, rapes, the persistent threat of violence. \u003c/p>\n\u003cp>“All the characters are fictional and [Emilio’s] journey is also a fiction,” Marcom says, “but all of the details, the things that happened to him—it’s because I knew they happened to somebody or somebodies, either through research I was doing, interviews I was finding [or] some things I learned from interviewing people myself.” \u003c/p>\n\u003cp>These realities are eye-opening to read now, particularly amid the ongoing crisis at the border, but when Marcom wrote the book in 2012, the national conversation around immigration was much quieter, the context far less understood. For years, Marcom could not sell the book to publishers, until Simon & Schuster picked it up in 2018, against the backdrop of President Trump’s family separation policy at the border. \u003c/p>\n\u003cp>In the years between, Marcom, looking for an alternative means to tell this story, started \u003ca href=\"https://newamericanstoryproject.org/\" rel=\"noopener noreferrer\" target=\"_blank\">New American Story Project\u003c/a>, an oral history series that interviews undocumented teenagers who have traveled as unaccompanied minors from Central America to the U.S.\u003c/p>\n\u003cp>https://vimeo.com/262476273\u003c/p>\n\u003cp>“We have a very long, complicated relationship with those countries,” Marcom says. “And yet most Americans, we don’t necessarily know that much about it. We’re like, ‘Who are these people? Why would they come here?’ Why would you think? Because they’re desperate. Nobody sends their child out alone on a journey unless they’re terrified for them.” \u003c/p>\n\u003cp>That context is not only ignored, but also further complicated by America’s decades-long political involvement with the countries of Central America, Marcom notes. It goes far deeper than election meddling. In 2009, the U.S. tacitly supported a coup in Honduras that has directly led to escalating violence and in turn driven waves of immigrants to the north in search of safety. \u003c/p>\n\u003cp>That thorny political reality informs each attempted crossing, and in documenting those complex experiences through fictional characters, Marcom’s premise might quickly remind readers of the literary-world debacle surrounding the novel \u003cem>American Dirt\u003c/em>. That book, written by author Jeanine Cummins, was among this year’s most hotly anticipated works, but leading up to its release in January it met a swirl of controversy. Among other critiques, Cummins (who is white) was accused of sloppily dressing up a tale of migrants in caricatured tragedy and stereotypes while reaping the rewards of political timeliness. \u003c/p>\n\u003cp>[aside postID=\"news_11798033\"]Did Marcom worry her book might be doing the same? Marcom’s story and writing offers a decidedly different kind of book, not least of all due to her years-long dedication to understanding and honoring the real-life stories behind her novel. But Marcom—who has written before about heavy historical subjects like the Armenian Genocide and genocide in Guatemala—is largely uninterested in weighing in on the \u003cem>American Dirt\u003c/em> fiasco.\u003c/p>\n\u003cp>“I haven’t read it,” Marcom says. “Of course, I know more than I’d like to know about whatever happened around it. I’m old fashioned in the sense that for me things like beauty and justice and truth are still the things that are guiding my work. The only person I’m going to hold myself accountable to is my sense of duty to the dead or maybe to God.”\u003c/p>\n\u003cp>What animates \u003cem>The New American\u003c/em> is the bare truth of the journey countless migrants have undertaken, from La Bestia to the deadly stretch of the Sonoran Desert that Emilio must eventually drag himself through. Firsthand experiences related to Marcom guide the work, along with the persistence and belief evinced by each interviewee—qualities she says continue to surprise her. \u003c/p>\n\u003cp>“I see that over and over again when I listen to people who tell me their stories and I listen to interviews,” Marcom says. “It’s this extraordinary human capacity to seek something better, and to endure and to have faith in God that things can be better.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At its center of the novel is Emilio, a 21-year-old Guatemalan desperately trying to get back home to his family in Berkeley. He has lived in America his whole conscious life, goes to UC Berkeley and only learns as a teenager that he is undocumented—a “Dreamer” who was brought into the U.S. as a child by his parents. After a stroke of unfortunate luck, he is deported, and his entire world suddenly vanishes. \u003c/p>\n\u003cp>But we only gather Emilio’s history slowly. Marcom grounds the book in the linear trajectory of migration. We learn of Emilio’s former life in bits and pieces, the same way he meets other travelers along the way, learning their stories in rough shades. Each backstory is invariably tinged with tragedy, suffering and desperation, circumstances that drove the characters out of their homes in countries like El Salvador and Honduras, where the homicide rates are among the highest in the world. As they make their way to the American border, there are only new perils. \u003c/p>\n\u003cfigure id=\"attachment_13885244\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/micheline-aharonian-marcom_1200.jpg\" alt=\"\" width=\"1200\" height=\"1140\" class=\"size-full wp-image-13885244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/micheline-aharonian-marcom_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/micheline-aharonian-marcom_1200-800x760.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/micheline-aharonian-marcom_1200-1020x969.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/micheline-aharonian-marcom_1200-160x152.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/micheline-aharonian-marcom_1200-768x730.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Micheline Aharonian Marcom \u003ccite>(Luco Parsons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marcom, whose work has often been experimental, says the great difficulty of the book was writing with simplicity, tracking plainly the harrowing trials of the journey—kidnappings, rapes, the persistent threat of violence. \u003c/p>\n\u003cp>“All the characters are fictional and [Emilio’s] journey is also a fiction,” Marcom says, “but all of the details, the things that happened to him—it’s because I knew they happened to somebody or somebodies, either through research I was doing, interviews I was finding [or] some things I learned from interviewing people myself.” \u003c/p>\n\u003cp>These realities are eye-opening to read now, particularly amid the ongoing crisis at the border, but when Marcom wrote the book in 2012, the national conversation around immigration was much quieter, the context far less understood. For years, Marcom could not sell the book to publishers, until Simon & Schuster picked it up in 2018, against the backdrop of President Trump’s family separation policy at the border. \u003c/p>\n\u003cp>In the years between, Marcom, looking for an alternative means to tell this story, started \u003ca href=\"https://newamericanstoryproject.org/\" rel=\"noopener noreferrer\" target=\"_blank\">New American Story Project\u003c/a>, an oral history series that interviews undocumented teenagers who have traveled as unaccompanied minors from Central America to the U.S.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“We have a very long, complicated relationship with those countries,” Marcom says. “And yet most Americans, we don’t necessarily know that much about it. We’re like, ‘Who are these people? Why would they come here?’ Why would you think? Because they’re desperate. Nobody sends their child out alone on a journey unless they’re terrified for them.” \u003c/p>\n\u003cp>That context is not only ignored, but also further complicated by America’s decades-long political involvement with the countries of Central America, Marcom notes. It goes far deeper than election meddling. In 2009, the U.S. tacitly supported a coup in Honduras that has directly led to escalating violence and in turn driven waves of immigrants to the north in search of safety. \u003c/p>\n\u003cp>That thorny political reality informs each attempted crossing, and in documenting those complex experiences through fictional characters, Marcom’s premise might quickly remind readers of the literary-world debacle surrounding the novel \u003cem>American Dirt\u003c/em>. That book, written by author Jeanine Cummins, was among this year’s most hotly anticipated works, but leading up to its release in January it met a swirl of controversy. Among other critiques, Cummins (who is white) was accused of sloppily dressing up a tale of migrants in caricatured tragedy and stereotypes while reaping the rewards of political timeliness. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Did Marcom worry her book might be doing the same? Marcom’s story and writing offers a decidedly different kind of book, not least of all due to her years-long dedication to understanding and honoring the real-life stories behind her novel. But Marcom—who has written before about heavy historical subjects like the Armenian Genocide and genocide in Guatemala—is largely uninterested in weighing in on the \u003cem>American Dirt\u003c/em> fiasco.\u003c/p>\n\u003cp>“I haven’t read it,” Marcom says. “Of course, I know more than I’d like to know about whatever happened around it. I’m old fashioned in the sense that for me things like beauty and justice and truth are still the things that are guiding my work. The only person I’m going to hold myself accountable to is my sense of duty to the dead or maybe to God.”\u003c/p>\n\u003cp>What animates \u003cem>The New American\u003c/em> is the bare truth of the journey countless migrants have undertaken, from La Bestia to the deadly stretch of the Sonoran Desert that Emilio must eventually drag himself through. Firsthand experiences related to Marcom guide the work, along with the persistence and belief evinced by each interviewee—qualities she says continue to surprise her. \u003c/p>\n\u003cp>“I see that over and over again when I listen to people who tell me their stories and I listen to interviews,” Marcom says. “It’s this extraordinary human capacity to seek something better, and to endure and to have faith in God that things can be better.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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