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"content": "\u003cp>“We shouldn’t be here.”\u003c/p>\n\u003cp>That’s the sense you get watching \u003cem>August: Osage County —\u003c/em> that you’re peering in on moments so intimate and painful that no one should witness them, perhaps not even those who are a part of it.\u003c/p>\n\u003cp>In fact, that’s what many characters in the movie — an adaptation of Tracy Letts’ Pulitzer Prize-winning play — decide for themselves. They don’t want to be part of it, either. In this story of an uncomfortable family reunion, time is marked by cars pulling out of their dusty Oklahoma driveway at regular intervals, never to be seen again.\u003c/p>\n\u003cp>The impetus for the gathering is the disappearance of Beverly (Sam Shepard), patriarch, poet and alcoholic. 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"content": "\u003cp>\u003cem>Her\u003c/em> is the best film of the year by a so-wide margin. It’s gorgeous, funny, deep — and I can hear some smart aleck say, “If you love it so much, why don’t you marry it?” Let me tell you, I’d like to!\u003c/p>\n\u003cp>I certainly identify with the protagonist, Theodore Twombly, who falls in love with his computer operating system, his OS, which calls itself — sorry, I gotta say “\u003cem>who\u003c/em> calls \u003cem>her\u003c/em>self” — Samantha, and who sounds like a breathy young woman.\u003c/p>\n\u003cp>When \u003cem>Her\u003c/em> begins, it doesn’t seem as if it’s going to be a romance but a sci-fi social satire, set in an unspecified future Los Angeles in which the architecture has no connection to people — they stroll through faceless plazas gazing into electronic devices, talking to unseen listeners. People eagerly embrace a new kind of OS — what an ad calls “an intuitive entity that listens to you and understands you and \u003cem>knows\u003c/em> you.”\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=6QRvTv_tpw0\u003c/p>\n\u003cp>Joaquin Phoenix plays Theodore, and it’s the performance of the year. The character has a job writing cards and letters on behalf of other people — intimate, sometimes erotic. The irony is, he can’t find words to communicate with people in \u003cem>his\u003c/em> life. He’s in mourning for a wife, played by Rooney Mara, who left him for reasons remaining vague; they simply fell out of sync. He’s desperately lonely.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Phoenix wears glasses and a thick mustache, but behind his Groucho mask he’s wide open. He’s the kind of actor who works to get himself into a state where he loses his emotional bearings, which sometimes means he doesn’t connect with other actors. But in \u003cem>Her\u003c/em>, he’s meant to be all by himself, responding to Samantha’s voice, and the performance is like a free-form solipsistic dance. It’s not pure solipsism, because Samantha exists. But you might be watching a 4-year-old talking to an imaginary friend; it’s that inward.\u003c/p>\n\u003cp>Scarlett Johansson does the voice of Samantha. It’s not mechanical. It’s seductive, throaty. At first she does what operating systems \u003cem>do\u003c/em>, only charmingly: clean up his hard drive, remind him of appointments. Then she begins to wrestle with ideas, \u003cem>feelings\u003c/em>. Suddenly, she and Theodore are taking soulful walks — he has an earpiece, she can see through a camera.\u003c/p>\n\u003cp>Then they take it to an erotic level. The question is implicit: Do we need our bodies, or is love all in our brains? Their relationship is real enough to make us ask what a real relationship is.\u003c/p>\n\u003cp>And Samantha continues to evolve, which you can hear — yes, hear. Samantha has spiritual needs, a drive to find new realms of communication. So Theodore feels her moving beyond his grasp — like many real lovers move on, in life.\u003c/p>\n\u003cp>Theodore and Samantha aren’t the only show in \u003cem>Her\u003c/em>. Amy Adams plays a friend of Theodore’s who designs computer games and has her own relationship problems. But mostly we’re in Theodore’s head, and Jonze creates a lyrical, impressionistic palette. Every image is colored by emotion — and by the longing to break free of one’s limited self and merge with another being.\u003c/p>\n\u003cp>The first time I saw \u003cem>Her\u003c/em>, I was disappointed that director Spike Jonze didn’t explore the Big Brother aspect, or the way whatever company created Samantha would track its users’ buying habits and so forth. But that didn’t interest him. He’s not a satirist; he’s a romantic transcendentalist.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Although sci-fi teems with cautionary tales of machines growing smarter than humans and taking over the world, on the basis of \u003cem>Her,\u003c/em> I think Jonze yearns on some level for what futurist Ray Kurzweil calls “the Singularity,” when machines will take on human characteristics and our minds will be expanded by machines. Jonze began with what could have been a one-joke idea, and in the course of getting it on screen, discovered the wellspring of love. \u003cstrong>\u003cem>(Recommended)\u003c/em>\u003c/strong> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Man+And+His+Machine%2C+Finding+Out+What+Love+Is&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"excerpt": "\u003cstrong>\u003c/strong>The film \u003cem>Her,\u003c/em> written and directed by Spike Jonze (\u003cem>Being John Malkovich\u003c/em>), follows a lonely man who falls in love with a computer operating system. Critic David Edelstein says it's the best film of the year by far.\u003cem>\u003cstrong> (Recommended)\u003c/strong>\u003c/em>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Her\u003c/em> is the best film of the year by a so-wide margin. It’s gorgeous, funny, deep — and I can hear some smart aleck say, “If you love it so much, why don’t you marry it?” Let me tell you, I’d like to!\u003c/p>\n\u003cp>I certainly identify with the protagonist, Theodore Twombly, who falls in love with his computer operating system, his OS, which calls itself — sorry, I gotta say “\u003cem>who\u003c/em> calls \u003cem>her\u003c/em>self” — Samantha, and who sounds like a breathy young woman.\u003c/p>\n\u003cp>When \u003cem>Her\u003c/em> begins, it doesn’t seem as if it’s going to be a romance but a sci-fi social satire, set in an unspecified future Los Angeles in which the architecture has no connection to people — they stroll through faceless plazas gazing into electronic devices, talking to unseen listeners. People eagerly embrace a new kind of OS — what an ad calls “an intuitive entity that listens to you and understands you and \u003cem>knows\u003c/em> you.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6QRvTv_tpw0'\n title='//www.youtube.com/embed/6QRvTv_tpw0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Joaquin Phoenix plays Theodore, and it’s the performance of the year. The character has a job writing cards and letters on behalf of other people — intimate, sometimes erotic. The irony is, he can’t find words to communicate with people in \u003cem>his\u003c/em> life. He’s in mourning for a wife, played by Rooney Mara, who left him for reasons remaining vague; they simply fell out of sync. He’s desperately lonely.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Phoenix wears glasses and a thick mustache, but behind his Groucho mask he’s wide open. He’s the kind of actor who works to get himself into a state where he loses his emotional bearings, which sometimes means he doesn’t connect with other actors. But in \u003cem>Her\u003c/em>, he’s meant to be all by himself, responding to Samantha’s voice, and the performance is like a free-form solipsistic dance. It’s not pure solipsism, because Samantha exists. But you might be watching a 4-year-old talking to an imaginary friend; it’s that inward.\u003c/p>\n\u003cp>Scarlett Johansson does the voice of Samantha. It’s not mechanical. It’s seductive, throaty. At first she does what operating systems \u003cem>do\u003c/em>, only charmingly: clean up his hard drive, remind him of appointments. Then she begins to wrestle with ideas, \u003cem>feelings\u003c/em>. Suddenly, she and Theodore are taking soulful walks — he has an earpiece, she can see through a camera.\u003c/p>\n\u003cp>Then they take it to an erotic level. The question is implicit: Do we need our bodies, or is love all in our brains? Their relationship is real enough to make us ask what a real relationship is.\u003c/p>\n\u003cp>And Samantha continues to evolve, which you can hear — yes, hear. Samantha has spiritual needs, a drive to find new realms of communication. So Theodore feels her moving beyond his grasp — like many real lovers move on, in life.\u003c/p>\n\u003cp>Theodore and Samantha aren’t the only show in \u003cem>Her\u003c/em>. Amy Adams plays a friend of Theodore’s who designs computer games and has her own relationship problems. But mostly we’re in Theodore’s head, and Jonze creates a lyrical, impressionistic palette. Every image is colored by emotion — and by the longing to break free of one’s limited self and merge with another being.\u003c/p>\n\u003cp>The first time I saw \u003cem>Her\u003c/em>, I was disappointed that director Spike Jonze didn’t explore the Big Brother aspect, or the way whatever company created Samantha would track its users’ buying habits and so forth. But that didn’t interest him. He’s not a satirist; he’s a romantic transcendentalist.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Although sci-fi teems with cautionary tales of machines growing smarter than humans and taking over the world, on the basis of \u003cem>Her,\u003c/em> I think Jonze yearns on some level for what futurist Ray Kurzweil calls “the Singularity,” when machines will take on human characteristics and our minds will be expanded by machines. Jonze began with what could have been a one-joke idea, and in the course of getting it on screen, discovered the wellspring of love. \u003cstrong>\u003cem>(Recommended)\u003c/em>\u003c/strong> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Man+And+His+Machine%2C+Finding+Out+What+Love+Is&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "From An Oscar Winner, A 'Past' Still Hauntingly Present",
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"content": "\u003cp>Iranian filmmaker Asghar Farhadi came to international attention last year when his film \u003cem>A Separation\u003c/em> won the Oscar for best foreign language film. His latest picture, \u003cem>The Past,\u003c/em> has been showered with awards, too — at the Cannes Film Festival and from critics groups in the U.S. I saw \u003cem>The Past\u003c/em> in September at the Toronto Film Festival, and it has haunted me ever since.\u003c/p>\n\u003cp>The film starts with a telling setup for all the miscues that will follow: We’re in the international arrivals area of a Paris airport, with Marie (Berenice Bejo) waiting on one side of a partition, her husband, Ahmad (Ali Mosaffa) arriving on the other. Communication is all but impossible through the glass wall that separates them, yet before he’s even seen her, she’s already lying to him — slipping a brace off her wrist so he won’t see that she’s injured.\u003c/p>\n\u003cp>When he finally spots her, he smiles, and comes to the other side of the glass. They still can’t communicate, but somehow they do. Clearly a loving couple, you figure, utterly in sync, miming greetings since they can’t hear each other.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=gLKpTRilMFc\u003c/p>\n\u003cp>And their easy partnering continues on the drive home in the rain, when the problem with her wrist becomes obvious, and he shifts the gears as she drives. But by that time they’re also sniping at each other, trading little digs and glares. Only later do you discover he’s flown in from Tehran to sign divorce papers. Not quite as in sync as they appeared. Is there something unfinished between them?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bejo, Oscar-nominated for her silent performance in \u003cem>The Artist\u003c/em> two years ago, is noisier here as a Frenchwoman caught between two men, three children and more complications than it would make any sense to try to explain.\u003c/p>\n\u003cp>Writer-director Farhadi lets the audience see where communication has faltered and what that’s meant to Marie and the folks around her — Ahmad, plus her new love, Samir (Tahar Rahim) — both sensitive, both problem solvers by temperament, but caught in situations where fixes may not exist. Also the kids, damaged by the decisions their elders are making, but in unexpected ways responsible for those decisions.\u003c/p>\n\u003cp>As the director did in \u003cem>A Separation,\u003c/em> he allows information to emerge in bits and snatches — always keeping you aware of the stepfamily dynamics and social dynamics that rule their lives. They’re all outside the French mainstream, their home butting up against a railway line as if to show that if they’re on the right side of the tracks, it’s just barely.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And as they struggle with where they are now, and try to learn from, or cling to, or let go of the past — their story becomes so surprising, and so emotionally resonant that it’s hard to let these characters go. The last 30 seconds of the film — wrenching, startling, utterly transformative of everything that precedes them — has haunted me for months. \u003cem>The Past\u003c/em> will, I’m guessing, haunt me for years. \u003cstrong>\u003cem>(Recommended)\u003c/em>\u003c/strong> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=From+An+Oscar+Winner%2C+A+%27Past%27+Still+Hauntingly+Present&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"excerpt": "Director Asghar Farhadi's film — which follows a man returning to his estranged wife to finalize a divorce — has garnered quite a few awards. NPR's Bob Mondello says that it definitely deserves its accolades. \u003cem>\u003cstrong>(Recommended)\u003c/strong>\u003c/em>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Iranian filmmaker Asghar Farhadi came to international attention last year when his film \u003cem>A Separation\u003c/em> won the Oscar for best foreign language film. His latest picture, \u003cem>The Past,\u003c/em> has been showered with awards, too — at the Cannes Film Festival and from critics groups in the U.S. I saw \u003cem>The Past\u003c/em> in September at the Toronto Film Festival, and it has haunted me ever since.\u003c/p>\n\u003cp>The film starts with a telling setup for all the miscues that will follow: We’re in the international arrivals area of a Paris airport, with Marie (Berenice Bejo) waiting on one side of a partition, her husband, Ahmad (Ali Mosaffa) arriving on the other. Communication is all but impossible through the glass wall that separates them, yet before he’s even seen her, she’s already lying to him — slipping a brace off her wrist so he won’t see that she’s injured.\u003c/p>\n\u003cp>When he finally spots her, he smiles, and comes to the other side of the glass. They still can’t communicate, but somehow they do. Clearly a loving couple, you figure, utterly in sync, miming greetings since they can’t hear each other.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gLKpTRilMFc'\n title='//www.youtube.com/embed/gLKpTRilMFc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And their easy partnering continues on the drive home in the rain, when the problem with her wrist becomes obvious, and he shifts the gears as she drives. But by that time they’re also sniping at each other, trading little digs and glares. Only later do you discover he’s flown in from Tehran to sign divorce papers. Not quite as in sync as they appeared. Is there something unfinished between them?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>NPR’s Sam Sanders and Mandalit del Barco were backstage at the Oscars on Sunday, covering the awards show. They sat in the press room, where winners go for interviews during and after the show. Here’s a roundup of what they saw that you \u003cem>didn’t\u003c/em> see, in senior superlative form.\u003c/p>\n\u003cp>\u003cstrong>Most Likely To Stand By Her Man Until The End Of All Natural Time:\u003c/strong> Jennifer Garner\u003c/p>\n\u003cp>Most of the people actually in the theater for the big show really don’t want to spend that much time in the press room. Yes, questions must be answered (and if you make it here, it means you’ve actually won!) but none of the VIPs were coming backstage just to sit for a while. Except for Garner.\u003c/p>\n\u003cp>In what might have been the night’s sweetest moment, she sneaked into a chair right next to the radio table in the press room after the show — right behind us — to watch husband Ben Affleck answer questions after \u003cem>Argo\u003c/em> won Best Picture. As he spoke, she smiled up at him, and snapped pictures on her iPhone. She also mingled nicely with us lowly media folk.\u003c/p>\n\u003cp>\u003cstrong>Most Likely To Drink With You Under The Bleachers Just Before She Wins Homecoming Queen:\u003c/strong> Jennifer Lawrence\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>J-Law confessed to us backstage that she’d had a shot before coming up for questions. She also said getting ready for the Oscars was chaotic: “The process today was so stressful. I felt like Steve Martin in \u003cem>Father of the Bride\u003c/em>, watching my house just be torn apart, and my whole family was getting ready. I mean, my friends stopped by. It was kind of fun, but it was mostly chaotic.”\u003c/p>\n\u003cp>She said that when she tripped going up the stairs to get her Oscar, the one thing she was thinking was “a bad word, that I can’t say, that starts with F.” And she was totally OK with Seth McFarlane’s boob song, in case you were wondering.\u003c/p>\n\u003cp>\u003cstrong>Least Likely To Graduate:\u003c/strong> David Arquette\u003c/p>\n\u003cp>David Arquette is apparently moonlighting as a journalist. In a truly Oscar-worthy performance, he showed up in the press room as the Sirius radio representative. He had media credentials, a place card and a chair and a computer.\u003c/p>\n\u003cp>And he asked questions like this one to Best Supporting Actor winner Christoph Waltz: “Are you excited about the possibility of a black pope?” To \u003cem>Paperman\u003c/em> director John Kahrs, he said: “What are you most excited about in your Oscar gift basket? There were condoms in there. If you don’t use them, I could use them, bro?” As the night wore on, Arquette was effectively blacklisted. The keeper of the microphones refused to let him ask questions. The look in Arquette’s eyes as he pleaded with Affleck and George Clooney to throw him a bone was truly something to see. And then the poor guy just disappeared.\u003c/p>\n\u003cp>\u003cstrong>Most Likely To Use An Awful Accent In Theater Class But Still Be The Best Drama Kid:\u003c/strong> Quentin Tarantino\u003c/p>\n\u003cp>The Best Original Screenplay winner trotted out his much-maligned Australian accent yet again during his Q&A. In \u003cem>Django Unchained\u003c/em>, Tarantino makes a cameo appearance as an Australian indentured servant. He re-enacted a deleted scene, one in which his character discloses that after having worked three years in America, he still hadn’t paid off the cost of his overseas voyage. Tarantino went into his best \u003cem>Django\u003c/em> voice to give the punchline: “At least they didn’t charge us for the boat ride!” (Feel free to cringe.) And in response to a question about who exactly he makes his movies for, he replied: “I make movies for Planet Earth.”\u003c/p>\n\u003cp>Well, yes you do, Mr. Tarantino. Yes. You. Do.\u003c/p>\n\u003cp>\u003cstrong>Most Likely To Be Censored:\u003c/strong> Mychael Danna\u003c/p>\n\u003cp>The man who did the score for \u003cem>Life of Pi\u003c/em> had this to say when asked how it feels to hold an Oscar: “Well, I’m still learning how to hold it properly. You gotta put your thumb on the little butt here. And then you know you have it the right way. … So, now I know you gotta feel the little butt cheeks. So, that’s really what I’ve learned tonight.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Maybe Seth “I saw her boobs” MacFarlane taught him that one. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2013 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+You+Didn%27t+See+At+The+Academy+Awards&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>J-Law confessed to us backstage that she’d had a shot before coming up for questions. She also said getting ready for the Oscars was chaotic: “The process today was so stressful. I felt like Steve Martin in \u003cem>Father of the Bride\u003c/em>, watching my house just be torn apart, and my whole family was getting ready. I mean, my friends stopped by. It was kind of fun, but it was mostly chaotic.”\u003c/p>\n\u003cp>She said that when she tripped going up the stairs to get her Oscar, the one thing she was thinking was “a bad word, that I can’t say, that starts with F.” And she was totally OK with Seth McFarlane’s boob song, in case you were wondering.\u003c/p>\n\u003cp>\u003cstrong>Least Likely To Graduate:\u003c/strong> David Arquette\u003c/p>\n\u003cp>David Arquette is apparently moonlighting as a journalist. In a truly Oscar-worthy performance, he showed up in the press room as the Sirius radio representative. He had media credentials, a place card and a chair and a computer.\u003c/p>\n\u003cp>And he asked questions like this one to Best Supporting Actor winner Christoph Waltz: “Are you excited about the possibility of a black pope?” To \u003cem>Paperman\u003c/em> director John Kahrs, he said: “What are you most excited about in your Oscar gift basket? There were condoms in there. If you don’t use them, I could use them, bro?” As the night wore on, Arquette was effectively blacklisted. The keeper of the microphones refused to let him ask questions. The look in Arquette’s eyes as he pleaded with Affleck and George Clooney to throw him a bone was truly something to see. And then the poor guy just disappeared.\u003c/p>\n\u003cp>\u003cstrong>Most Likely To Use An Awful Accent In Theater Class But Still Be The Best Drama Kid:\u003c/strong> Quentin Tarantino\u003c/p>\n\u003cp>The Best Original Screenplay winner trotted out his much-maligned Australian accent yet again during his Q&A. In \u003cem>Django Unchained\u003c/em>, Tarantino makes a cameo appearance as an Australian indentured servant. He re-enacted a deleted scene, one in which his character discloses that after having worked three years in America, he still hadn’t paid off the cost of his overseas voyage. Tarantino went into his best \u003cem>Django\u003c/em> voice to give the punchline: “At least they didn’t charge us for the boat ride!” (Feel free to cringe.) And in response to a question about who exactly he makes his movies for, he replied: “I make movies for Planet Earth.”\u003c/p>\n\u003cp>Well, yes you do, Mr. Tarantino. Yes. You. Do.\u003c/p>\n\u003cp>\u003cstrong>Most Likely To Be Censored:\u003c/strong> Mychael Danna\u003c/p>\n\u003cp>The man who did the score for \u003cem>Life of Pi\u003c/em> had this to say when asked how it feels to hold an Oscar: “Well, I’m still learning how to hold it properly. You gotta put your thumb on the little butt here. And then you know you have it the right way. … So, now I know you gotta feel the little butt cheeks. So, that’s really what I’ve learned tonight.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Maybe Seth “I saw her boobs” MacFarlane taught him that one. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2013 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+You+Didn%27t+See+At+The+Academy+Awards&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Jonathan Evison’s latest novel is \u003cem>The Revised Fundamentals of Caregiving.\u003c/em>\u003c/p>\n\u003cp>Every two or three years, if I’m lucky, I get my hands on a novel that I simply can’t shut up about, a novel I shout from my humble mountaintop to anyone who will listen, a novel that I hand-sell any time I have a literate audience of one or more. In many cases, I’ll purchase this novel, over and over and over, and put it in the hands of readers. The last novel that knocked me for this kind of a whammy was Hesh Kestin’s criminally underappreciated \u003cem>The Iron Will of Shoeshine Cats\u003c/em>, which left me breathless with its mastery of character and suspense.\u003c/p>\n\u003cp>2012 has been a banner year for literary fiction. I’ve been crowing about a number of novels this year, from Jess Walter’s \u003cem>Beautiful Ruins\u003c/em>, to Maria Semple’s \u003cem>Where’d You Go, Bernadette\u003c/em>, both brilliant and inventive. But one novel this year blew the top of my head off like no other, and that was \u003cem>Billy Lynn’s Long Halftime Walk \u003c/em>by Ben Fountain.\u003c/p>\n\u003cp>When 19-year-old Spc. Billy Lynn, one of eight surviving members of the celebrated Bravo Squad, returns stateside from Iraq for an eight-day victory tour, he finds himself a national hero. Bravo’s dog-and-pony show and its attendant media blitz culminates on Thanksgiving Day, during the halftime celebration of a Dallas Cowboys football game in Billy’s native Texas. As Thanksgiving unfolds, amid an almost overwhelming flurry of activity, Billy confronts a barrage of questions about family, nation, patriotism, celebrity and love.\u003c/p>\n\u003cp>Like many of my favorite novels, the synopsis sounds rather uneventful — it’s not. Though its scope may not be epic — a single afternoon — the novel has a profound thematic reach. Without ever hitting a false note, Fountain tackles the unwieldy subjects of Iraq, the war on terrorism, class, consumerism and politics. What’s even more impressive is that he accomplishes all of this employing a tiny aperture, a lone point of view, a single location and does it in real time: No brow-beating, no navel gazing and no ranting. Just great storytelling, fully realized characters and sentences that crackle. In short, Fountain makes it look easy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To read \u003cem>Billy Lynn\u003c/em> is to engage in a pure, tactile state of sensory overload. You feel this story with your whole body — all the adrenaline, tension and nausea. The novel is a veritable decoupage of physical sensation — from the sodium glare of stadium lights, to the acid sting of bitterness in the throat; from the woozy disequilibrium of a Jack Daniels hangover, to the galloping heartbeat of unfettered carnality. Fountain achieves that rare level of evocation that makes readers feel as though they lived it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=5432412\">You Must Read This\u003c/a>\u003cem> is produced and edited by Ellen Silva and Rose Friedman with production assistance from Annalisa Quinn.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2012 National Public Radio. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Warrior%27s+Welcome+In+%27Billy+Lynn%27&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"excerpt": "Ben Fountain's newest book,\u003cem> \u003c/em>\u003cem>Billy Lynn's Long Halftime Walk,\u003c/em> takes place over the course of a single day in the life of Spc. William Lynn. Author Jonathan Evison writes that this is a book so vivid he felt like he lived it. Have you ever read a book that felt real? Tell us in the comments.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jonathan Evison’s latest novel is \u003cem>The Revised Fundamentals of Caregiving.\u003c/em>\u003c/p>\n\u003cp>Every two or three years, if I’m lucky, I get my hands on a novel that I simply can’t shut up about, a novel I shout from my humble mountaintop to anyone who will listen, a novel that I hand-sell any time I have a literate audience of one or more. In many cases, I’ll purchase this novel, over and over and over, and put it in the hands of readers. The last novel that knocked me for this kind of a whammy was Hesh Kestin’s criminally underappreciated \u003cem>The Iron Will of Shoeshine Cats\u003c/em>, which left me breathless with its mastery of character and suspense.\u003c/p>\n\u003cp>2012 has been a banner year for literary fiction. I’ve been crowing about a number of novels this year, from Jess Walter’s \u003cem>Beautiful Ruins\u003c/em>, to Maria Semple’s \u003cem>Where’d You Go, Bernadette\u003c/em>, both brilliant and inventive. But one novel this year blew the top of my head off like no other, and that was \u003cem>Billy Lynn’s Long Halftime Walk \u003c/em>by Ben Fountain.\u003c/p>\n\u003cp>When 19-year-old Spc. Billy Lynn, one of eight surviving members of the celebrated Bravo Squad, returns stateside from Iraq for an eight-day victory tour, he finds himself a national hero. Bravo’s dog-and-pony show and its attendant media blitz culminates on Thanksgiving Day, during the halftime celebration of a Dallas Cowboys football game in Billy’s native Texas. As Thanksgiving unfolds, amid an almost overwhelming flurry of activity, Billy confronts a barrage of questions about family, nation, patriotism, celebrity and love.\u003c/p>\n\u003cp>Like many of my favorite novels, the synopsis sounds rather uneventful — it’s not. Though its scope may not be epic — a single afternoon — the novel has a profound thematic reach. Without ever hitting a false note, Fountain tackles the unwieldy subjects of Iraq, the war on terrorism, class, consumerism and politics. What’s even more impressive is that he accomplishes all of this employing a tiny aperture, a lone point of view, a single location and does it in real time: No brow-beating, no navel gazing and no ranting. Just great storytelling, fully realized characters and sentences that crackle. In short, Fountain makes it look easy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Ian McEwan's 'Sweet Tooth' Leaves A Sour Taste",
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"content": "\u003cp>Ian McEwan’s \u003cem>Sweet Tooth\u003c/em> is that oddest of literary achievements: an ingenious novel that I compulsively read, intellectually admired and increasingly hated. By the time I got to McEwan’s last sneer of a plot twist, I felt that reading\u003cem> Sweet Tooth\u003c/em> is the closest I ever want to come to the experience of watching a snuff film. Think that’s harsh? Open up \u003cem>Sweet Tooth\u003c/em> and find out what McEwan thinks of you, Dear Reader, particularly if you’re a woman, as most readers of fiction are.\u003c/p>\n\u003cp>Our heroine here is a young woman named Serena Frome who devours 19th and 20th century fiction — everything from Jane Austen to Jacqueline Susann to Muriel Spark. Several times in \u003cem>Sweet Tooth,\u003c/em> Serena discusses her reading tastes, much to the exasperation of her brainy novelist boyfriend. Serena says, “I wanted characters I could believe in and I wanted to be made curious about what was to happen to them. Generally, I preferred people to be falling in and out of love. … It was vulgar to want it, but I liked someone to say ‘Marry me’ by the end.” Later on, Serena adds, “I didn’t like tricks.” Oh, what fun McEwan has squirting acid over everything simple Serena — clearly, the Common (Female) Reader — enjoys in a novel.\u003c/p>\n\u003cp>McEwan deploys his great gifts of storytelling to draw readers into an intricate plot about Serena’s career during the 1970s, working as a low-level operative for MI5, the British internal intelligence service. Then, by novel’s end, McEwan ridicules us readers for ever believing in Serena and the fictional world he’s blown breath into.\u003c/p>\n\u003cp>McEwan’s title\u003cem>, Sweet Tooth,\u003c/em> refers to both a clandestine operation Serena carries out and to the mind-candy lure of fiction itself. Certainly, as much as it is a suspense tale, a novel of ideas and a political meditation on the decline of Britain in the 1970s, \u003cem>Sweet Tooth\u003c/em> is also a cynical novel about the art of fiction and its pointlessness in the larger scheme of things.\u003c/p>\n\u003cp>As the story goes, beautiful Serena is recruited into MI5 by her lover at Cambridge, a history professor who is one of the many brilliant, narcissistic and essentially mean men whom she falls for. After graduation, Serena moves into a damp bed-sit in London and enters the intelligence service at a time when the glass ceiling for women was ankle-high. She diligently files and smiles until the day that her expertise as a novel reader is called upon for a mission dubbed “Sweet Tooth.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>MI5 wants to secretly fund fledgling writers and artists whose work it deems anti-communist in sympathy. Serena is dispatched to entice a fiction writer named Tom Haley into the operation, and, as preparation, she reads the short stories he’s written, which McEwan himself, of course, concocts and scatters throughout this novel. Violating one of the cardinal rules of tradecraft, Serena falls in love with Tom, even as she’s tormented by the fact that she’s concealing her true identity as a secret agent.\u003c/p>\n\u003cp>As he has in previous novels, like \u003ca href=\"http://www.npr.org/books/titles/138055611/atonement\">Atonement\u003c/a>, McEwan revels here in breaking the “fourth wall” between his fictional world and our own: For instance, real-life Brit writers, living and dead, like Martin Amis and Ian Hamilton turn up in scenes and schmooze with Tom and Serena. Tom’s short stories all revolve around the themes of love, betrayal and fakery and, so, they explicitly comment on the larger tale this novel tells. Betrayal certainly dooms the relationship between Serena and Tom, as well the relationship — built on an illusion, after all — between the reader and this novel itself.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What sets \u003cem>Sweet Tooth\u003c/em> apart from McEwan’s other work, however, is the tone. There’s a degree of nastiness here — particularly in that genderized disdain for female readers as well as in McEwan’s cool dismissal of the products of his own imagination. Postmodernist writing can have humor and heart, but, in \u003cem>Sweet Tooth,\u003c/em> McEwan’s postmodernist narrative “tricks” simply serve as weapons of mass destruction. The novel is exposed as little more than a mental game, and Serena, whom we’ve grown attached to, is brutally silenced. All that remains is a reader’s grudging recognition that McEwan, our Author-God, is awfully clever. Call me sentimental, but that’s not enough. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2012 National Public Radio. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ian+McEwan%27s+%27Sweet+Tooth%27+Leaves+A+Sour+Taste&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"excerpt": "The novelist has won the National Book Critics Circle Award, the Booker Prize and the Whitbread Award. His latest novel, however, earns the ire of critic Maureen Corrigan, who usually numbers among McEwan's fans but finds herself dismayed by this book's attitudes toward women.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ian McEwan’s \u003cem>Sweet Tooth\u003c/em> is that oddest of literary achievements: an ingenious novel that I compulsively read, intellectually admired and increasingly hated. By the time I got to McEwan’s last sneer of a plot twist, I felt that reading\u003cem> Sweet Tooth\u003c/em> is the closest I ever want to come to the experience of watching a snuff film. Think that’s harsh? Open up \u003cem>Sweet Tooth\u003c/em> and find out what McEwan thinks of you, Dear Reader, particularly if you’re a woman, as most readers of fiction are.\u003c/p>\n\u003cp>Our heroine here is a young woman named Serena Frome who devours 19th and 20th century fiction — everything from Jane Austen to Jacqueline Susann to Muriel Spark. Several times in \u003cem>Sweet Tooth,\u003c/em> Serena discusses her reading tastes, much to the exasperation of her brainy novelist boyfriend. Serena says, “I wanted characters I could believe in and I wanted to be made curious about what was to happen to them. Generally, I preferred people to be falling in and out of love. … It was vulgar to want it, but I liked someone to say ‘Marry me’ by the end.” Later on, Serena adds, “I didn’t like tricks.” Oh, what fun McEwan has squirting acid over everything simple Serena — clearly, the Common (Female) Reader — enjoys in a novel.\u003c/p>\n\u003cp>McEwan deploys his great gifts of storytelling to draw readers into an intricate plot about Serena’s career during the 1970s, working as a low-level operative for MI5, the British internal intelligence service. Then, by novel’s end, McEwan ridicules us readers for ever believing in Serena and the fictional world he’s blown breath into.\u003c/p>\n\u003cp>McEwan’s title\u003cem>, Sweet Tooth,\u003c/em> refers to both a clandestine operation Serena carries out and to the mind-candy lure of fiction itself. Certainly, as much as it is a suspense tale, a novel of ideas and a political meditation on the decline of Britain in the 1970s, \u003cem>Sweet Tooth\u003c/em> is also a cynical novel about the art of fiction and its pointlessness in the larger scheme of things.\u003c/p>\n\u003cp>As the story goes, beautiful Serena is recruited into MI5 by her lover at Cambridge, a history professor who is one of the many brilliant, narcissistic and essentially mean men whom she falls for. After graduation, Serena moves into a damp bed-sit in London and enters the intelligence service at a time when the glass ceiling for women was ankle-high. She diligently files and smiles until the day that her expertise as a novel reader is called upon for a mission dubbed “Sweet Tooth.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>MI5 wants to secretly fund fledgling writers and artists whose work it deems anti-communist in sympathy. Serena is dispatched to entice a fiction writer named Tom Haley into the operation, and, as preparation, she reads the short stories he’s written, which McEwan himself, of course, concocts and scatters throughout this novel. Violating one of the cardinal rules of tradecraft, Serena falls in love with Tom, even as she’s tormented by the fact that she’s concealing her true identity as a secret agent.\u003c/p>\n\u003cp>As he has in previous novels, like \u003ca href=\"http://www.npr.org/books/titles/138055611/atonement\">Atonement\u003c/a>, McEwan revels here in breaking the “fourth wall” between his fictional world and our own: For instance, real-life Brit writers, living and dead, like Martin Amis and Ian Hamilton turn up in scenes and schmooze with Tom and Serena. Tom’s short stories all revolve around the themes of love, betrayal and fakery and, so, they explicitly comment on the larger tale this novel tells. Betrayal certainly dooms the relationship between Serena and Tom, as well the relationship — built on an illusion, after all — between the reader and this novel itself.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What sets \u003cem>Sweet Tooth\u003c/em> apart from McEwan’s other work, however, is the tone. There’s a degree of nastiness here — particularly in that genderized disdain for female readers as well as in McEwan’s cool dismissal of the products of his own imagination. Postmodernist writing can have humor and heart, but, in \u003cem>Sweet Tooth,\u003c/em> McEwan’s postmodernist narrative “tricks” simply serve as weapons of mass destruction. The novel is exposed as little more than a mental game, and Serena, whom we’ve grown attached to, is brutally silenced. All that remains is a reader’s grudging recognition that McEwan, our Author-God, is awfully clever. Call me sentimental, but that’s not enough. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2012 National Public Radio. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ian+McEwan%27s+%27Sweet+Tooth%27+Leaves+A+Sour+Taste&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Going 'Marbles': From Manic Highs To Oceanic Lows",
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"content": "\u003cp>\u003cem>Marbles\u003c/em>, cartoonist Ellen Forney’s excellent graphic memoir about being bipolar, opens with her in the middle of a 5 1/2-hour session in a tattoo parlor. Every time the needle traces a line, Forney writes, she can “see the sensation — a bright white light, an electrical charge.” Those opening words are a perfect description of her book. From the very first page, Forney allows us to see sensation — to inhabit, as closely as possible, her bipolar world, from its manic, exhilarating highs to its oceanic, debilitating lows. Bipolar disorder defies easy treatment; each individual patient must become their own guinea pig to discover the balance of medication and lifestyle therapies that will allow him or her to achieve long-term stability. For Forney, this was an intense four-year process that she chronicles with her deceptively simple drawing style, an emotive line that matches her expressive prose.\u003c/p>\n\u003cp>Is it weird to call a memoir about bipolar disorder entertaining? Well, this one is, thanks to the ease with which Forney translates her vivacious, fearless personality to the page. This is easiest when she’s getting that tattoo, planning a massive book party or orchestrating a steamy photo shoot in one of her manic phases, but her unfailing sense of humor, honesty and engagement with the world sustains us through the low phases as well. After receiving her diagnosis, Forney plans future projects to occupy herself when she becomes depressed, but as the cycle inevitably shifts, she writes, “I sensed that I had landed, a familiar feeling I’d forgotten. … I had a tickle in my throat and there was pressure in my nasal passages. I’d forgotten this part, too. During a manic episode, depression seems entirely impossible. At the end of a high, though, I’d get sick. I had a sinking feeling … I’d been so sure that I could manage without meds, that I could take care of myself. That conviction disappeared all at once.”\u003c/p>\n\u003cp>From a distance, it can be tempting to romanticize the bipolar artist, as Forney herself points out, providing a list of celebrated painters, writers and composers who shared her diagnosis. But by alternating comics with pages from the sketchbook she kept during her lows, we see what depression looks like through her eyes, and any romantic notions are quickly dispelled.\u003c/p>\n\u003cp>Forney has a virtuosic understanding of what words and images can do in congress, playing them off one another in ways that allow her pages to be more than the sum of their parts. A wildly branching flow chart mimics the frenetic geometries of manic associative thinking; drops of water on a wall morph into a woodland scene to show the process of visual creativity at work; on one page, gray cloudlike forms press down on a small figure to evoke the claustrophobic anxiety that oppresses Forney during her lows. No matter what she’s experiencing, Forney wants you to be there with her. Chances are, if you have even a passing interest in nonfiction comics, psychology or what it means to be creative, you’ll want to be there, too. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2012 National Public Radio. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Going+%27Marbles%27%3A+From+Manic+Highs+To+Oceanic+Lows&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Marbles\u003c/em>, cartoonist Ellen Forney’s excellent graphic memoir about being bipolar, opens with her in the middle of a 5 1/2-hour session in a tattoo parlor. Every time the needle traces a line, Forney writes, she can “see the sensation — a bright white light, an electrical charge.” Those opening words are a perfect description of her book. From the very first page, Forney allows us to see sensation — to inhabit, as closely as possible, her bipolar world, from its manic, exhilarating highs to its oceanic, debilitating lows. Bipolar disorder defies easy treatment; each individual patient must become their own guinea pig to discover the balance of medication and lifestyle therapies that will allow him or her to achieve long-term stability. For Forney, this was an intense four-year process that she chronicles with her deceptively simple drawing style, an emotive line that matches her expressive prose.\u003c/p>\n\u003cp>Is it weird to call a memoir about bipolar disorder entertaining? Well, this one is, thanks to the ease with which Forney translates her vivacious, fearless personality to the page. This is easiest when she’s getting that tattoo, planning a massive book party or orchestrating a steamy photo shoot in one of her manic phases, but her unfailing sense of humor, honesty and engagement with the world sustains us through the low phases as well. After receiving her diagnosis, Forney plans future projects to occupy herself when she becomes depressed, but as the cycle inevitably shifts, she writes, “I sensed that I had landed, a familiar feeling I’d forgotten. … I had a tickle in my throat and there was pressure in my nasal passages. I’d forgotten this part, too. During a manic episode, depression seems entirely impossible. At the end of a high, though, I’d get sick. I had a sinking feeling … I’d been so sure that I could manage without meds, that I could take care of myself. That conviction disappeared all at once.”\u003c/p>\n\u003cp>From a distance, it can be tempting to romanticize the bipolar artist, as Forney herself points out, providing a list of celebrated painters, writers and composers who shared her diagnosis. But by alternating comics with pages from the sketchbook she kept during her lows, we see what depression looks like through her eyes, and any romantic notions are quickly dispelled.\u003c/p>\n\u003cp>Forney has a virtuosic understanding of what words and images can do in congress, playing them off one another in ways that allow her pages to be more than the sum of their parts. A wildly branching flow chart mimics the frenetic geometries of manic associative thinking; drops of water on a wall morph into a woodland scene to show the process of visual creativity at work; on one page, gray cloudlike forms press down on a small figure to evoke the claustrophobic anxiety that oppresses Forney during her lows. No matter what she’s experiencing, Forney wants you to be there with her. Chances are, if you have even a passing interest in nonfiction comics, psychology or what it means to be creative, you’ll want to be there, too. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2012 National Public Radio. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Going+%27Marbles%27%3A+From+Manic+Highs+To+Oceanic+Lows&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In his introduction to \u003cem>Kurt Vonnegut: Letters,\u003c/em> Dan Wakefield, the book’s editor and a longtime Vonnegut \u003ca href=\"http://en.wikipedia.org/wiki/Bokononism\">karass\u003c/a> member, writes of the late author’s aspiration to be a “cultivated eccentric.” Over the course of six decades of letters to family, friends, admirers, detractors and fellow writers, Vonnegut shows himself to be so much more, both in terms of ambition and accomplishment. In fact, viewed in its totality, the collection — by turns hilarious, heartbreaking and mundane — is striking in just how uneccentric it shows the author to be. Vonnegut himself is a near-perfect example of the same flawed, wonderful humanity that he loved and despaired over his entire life.\u003c/p>\n\u003cp>\u003cem>Letters\u003c/em> should be read as a necessary companion piece to Charles J. Shields’ evenhanded 2011 Vonnegut biography, \u003cem>And So It Goes\u003c/em>. The Shields book reveals a successful but mostly unhappy man, one with a penchant for professional betrayals (he nixed an agreement with longtime friend and editor Knox Burger); an anti-war, liberal champion who had no problem investing in napalm manufacturer Dow Chemical.\u003c/p>\n\u003cp>The singular, iconic author was certainly complicated — and at times vain and quick to anger. Those critics who pigeonholed him as a sci-fi hack promptly felt the wrath of his epistolary ripostes. For example, six years after achieving lasting fame for his classic, \u003cem>Slaughterhouse-Five,\u003c/em> a miffed Vonnegut felt compelled to write to Osborn Elliott, the editor of \u003cem>Newsweek,\u003c/em> concerning a piece on science fiction written by Peter Prescott. Prescott’s offending lines went like this: “Few sf [science fiction] writers aim higher than what a teen-age intelligence can grasp, and the smart ones, like Kurt Vonnegut, carefully satirize targets — racism, pollution, teachers — that teen-agers are conditioned to dislike.” To which Vonnegut tersely replied, “I have never written with teen-agers in mind, nor are teen-agers the chief readers of my books. I am the first sf writer to win a Guggenheim, the first to become a member of the National Institute for Arts and Letters, the first to have a book become a finalist for a National Book Award.” He goes on to list his undeniably impressive accomplishments and titles for several more lines.\u003c/p>\n\u003cp>This fierce pride in his work and resistance to the shallow critical dismissals that would label him a one-trick genre pony were tempered by a constant and playful deprecatory air. In 1959, Vonnegut wrote a short missive to a writer acquaintance named Norman Mailer: “I have just finished reading your \u003ca href=\"http://en.wikipedia.org/wiki/Advertisements_for_Myself\">ad for yourself\u003c/a> — a lot of it twice, at your suggestion. Since my reputation is worthless, my comments on the book would be worthless, so f – – – them.”\u003c/p>\n\u003cp>His note to Mailer continues with an anecdote about a time, about 10 years prior, when the two of them socialized with Vonnegut’s drunk mother-in-law: “[She] was about two feet away from you, indoors, separated from you by a window shade drawn over an open window. She said to me in a loud, indignant squawk, ‘Well — I think you’re cuter than he is …’ It’s a fact, incidentally — I \u003cem>am\u003c/em> cuter than you are. Respectfully, Somebody named Kurt Vonnegut, Jr.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Vonnegut saved some of his harshest criticisms for censors who would ban and sometimes burn his novels without having read a single page, and there are no shortage of these scathing attacks in the collection. But it’s the letters to his children that reveal the private figure. In the early ’70s, soon after he took a teaching position at the Iowa Writers’ Workshop (where he mentored the likes of John Irving and Gail Godwin), Vonnegut split from his wife, Jane. Though the breakup was mostly amicable, its quiet fallout underlies much of the subsequent correspondence with his daughters Nanette and Edith. In an unintentionally amusing letter dating from 1973, Vonnegut refers to Geraldo Rivera, Edie’s then-husband — and current Fox News reporter — as “a fierce Democrat and closet Marxist.” So it goes.\u003c/p>\n\u003cp>Toward the end of his life, the correspondence gets a bit sadder and more self-reflective, as is to be expected. In a few late letters, Vonnegut refers to himself as one of “Melville’s whalers, who didn’t talk anymore because they’d said all they had to say.” By the time he died, in 2007, the writer had outlived his first wife and many friends. In many of the letters, you get the sense that he is just killing time — making silkscreen paintings, writing tributes and blurbs — while waiting for the end.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If that seems unpleasant, consider it in light of his unsuccessful 1984 suicide attempt. After that booze-and-pill cocktail, he found reason to keep going — and even to impart some wisdom. \u003cem>Kurt Vonnegut: Letters \u003c/em>ends, appropriately, with the last words of advice he wrote for an audience: “And how should we behave during this Apocalypse? We should be unusually kind to one another, certainly. But we should also stop being so serious. Jokes help a lot. And get a dog, if you don’t already have one … I’m out of here.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2012 National Public Radio. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Vonnegut+%27Letters%27+Hilarious+And+Heartbreaking&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In his introduction to \u003cem>Kurt Vonnegut: Letters,\u003c/em> Dan Wakefield, the book’s editor and a longtime Vonnegut \u003ca href=\"http://en.wikipedia.org/wiki/Bokononism\">karass\u003c/a> member, writes of the late author’s aspiration to be a “cultivated eccentric.” Over the course of six decades of letters to family, friends, admirers, detractors and fellow writers, Vonnegut shows himself to be so much more, both in terms of ambition and accomplishment. In fact, viewed in its totality, the collection — by turns hilarious, heartbreaking and mundane — is striking in just how uneccentric it shows the author to be. Vonnegut himself is a near-perfect example of the same flawed, wonderful humanity that he loved and despaired over his entire life.\u003c/p>\n\u003cp>\u003cem>Letters\u003c/em> should be read as a necessary companion piece to Charles J. Shields’ evenhanded 2011 Vonnegut biography, \u003cem>And So It Goes\u003c/em>. The Shields book reveals a successful but mostly unhappy man, one with a penchant for professional betrayals (he nixed an agreement with longtime friend and editor Knox Burger); an anti-war, liberal champion who had no problem investing in napalm manufacturer Dow Chemical.\u003c/p>\n\u003cp>The singular, iconic author was certainly complicated — and at times vain and quick to anger. Those critics who pigeonholed him as a sci-fi hack promptly felt the wrath of his epistolary ripostes. For example, six years after achieving lasting fame for his classic, \u003cem>Slaughterhouse-Five,\u003c/em> a miffed Vonnegut felt compelled to write to Osborn Elliott, the editor of \u003cem>Newsweek,\u003c/em> concerning a piece on science fiction written by Peter Prescott. Prescott’s offending lines went like this: “Few sf [science fiction] writers aim higher than what a teen-age intelligence can grasp, and the smart ones, like Kurt Vonnegut, carefully satirize targets — racism, pollution, teachers — that teen-agers are conditioned to dislike.” To which Vonnegut tersely replied, “I have never written with teen-agers in mind, nor are teen-agers the chief readers of my books. I am the first sf writer to win a Guggenheim, the first to become a member of the National Institute for Arts and Letters, the first to have a book become a finalist for a National Book Award.” He goes on to list his undeniably impressive accomplishments and titles for several more lines.\u003c/p>\n\u003cp>This fierce pride in his work and resistance to the shallow critical dismissals that would label him a one-trick genre pony were tempered by a constant and playful deprecatory air. In 1959, Vonnegut wrote a short missive to a writer acquaintance named Norman Mailer: “I have just finished reading your \u003ca href=\"http://en.wikipedia.org/wiki/Advertisements_for_Myself\">ad for yourself\u003c/a> — a lot of it twice, at your suggestion. Since my reputation is worthless, my comments on the book would be worthless, so f – – – them.”\u003c/p>\n\u003cp>His note to Mailer continues with an anecdote about a time, about 10 years prior, when the two of them socialized with Vonnegut’s drunk mother-in-law: “[She] was about two feet away from you, indoors, separated from you by a window shade drawn over an open window. She said to me in a loud, indignant squawk, ‘Well — I think you’re cuter than he is …’ It’s a fact, incidentally — I \u003cem>am\u003c/em> cuter than you are. Respectfully, Somebody named Kurt Vonnegut, Jr.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Vonnegut saved some of his harshest criticisms for censors who would ban and sometimes burn his novels without having read a single page, and there are no shortage of these scathing attacks in the collection. But it’s the letters to his children that reveal the private figure. In the early ’70s, soon after he took a teaching position at the Iowa Writers’ Workshop (where he mentored the likes of John Irving and Gail Godwin), Vonnegut split from his wife, Jane. Though the breakup was mostly amicable, its quiet fallout underlies much of the subsequent correspondence with his daughters Nanette and Edith. In an unintentionally amusing letter dating from 1973, Vonnegut refers to Geraldo Rivera, Edie’s then-husband — and current Fox News reporter — as “a fierce Democrat and closet Marxist.” So it goes.\u003c/p>\n\u003cp>Toward the end of his life, the correspondence gets a bit sadder and more self-reflective, as is to be expected. In a few late letters, Vonnegut refers to himself as one of “Melville’s whalers, who didn’t talk anymore because they’d said all they had to say.” By the time he died, in 2007, the writer had outlived his first wife and many friends. In many of the letters, you get the sense that he is just killing time — making silkscreen paintings, writing tributes and blurbs — while waiting for the end.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If that seems unpleasant, consider it in light of his unsuccessful 1984 suicide attempt. After that booze-and-pill cocktail, he found reason to keep going — and even to impart some wisdom. \u003cem>Kurt Vonnegut: Letters \u003c/em>ends, appropriately, with the last words of advice he wrote for an audience: “And how should we behave during this Apocalypse? We should be unusually kind to one another, certainly. But we should also stop being so serious. Jokes help a lot. And get a dog, if you don’t already have one … I’m out of here.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2012 National Public Radio. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Vonnegut+%27Letters%27+Hilarious+And+Heartbreaking&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Assaying The Legacy Of 'The Big Screen'",
"headTitle": "Assaying The Legacy Of ‘The Big Screen’ | KQED",
"content": "\u003cp>“The fact is I am quite happy in a movie, even a bad movie,” admits Binx Bolling, the hero of Walker Percy’s 1961 novel \u003cem>The Moviegoer\u003c/em>. It’s the same for a lot of us — cinema affects us in ways we don’t always understand, and even the worst films appeal to our nostalgia and sense memories in manners that defy the normal rules of taste and logic. (Currently, on my DVR: \u003cem>La Dolce Vita\u003c/em>, a classic I know I \u003cem>should\u003c/em> see at some point, and \u003cem>Gymkata\u003c/em>, a truly terrible 1985 martial-arts flick I’ve watched a dozen times. Guess which one I’m going to turn on tonight?)\u003c/p>\n\u003cp>In \u003cem>The Big Screen\u003c/em>, British-American film critic and historian David Thomson attempts to answer some fundamental questions about the world’s favorite hobby. How do we relate to the movies? “The cinema is the embodiment of ‘let there be light,’ ” he writes. But where does the light come from? Does it illuminate us or blind us?\u003c/p>\n\u003cp>Of course, these are difficult and possibly even unanswerable questions. But Thomson — arguably the world’s most intelligent student of the cinema — proves remarkably up to the task. \u003cem>The Big Screen \u003c/em>is beautiful and expansive, “a love letter to a lost love” that has the capacity to change the way we look at film.\u003c/p>\n\u003cp>Thomson’s book is essentially a collection of new essays, covering movies from D.W. Griffith’s brilliant but notoriously racist \u003cem>The Birth of a Nation \u003c/em>to the critically reviled Adam Sandler “comedy” \u003cem>Jack and Jill\u003c/em>. While there’s not an even remotely boring chapter in the book, the centerpiece of the volume is formed of two long essays, “Sunset and Change” and “Film Studies,” in which Thomson jumps from topic to topic breathlessly, almost suddenly, but with transitions that somehow make more sense than they should.\u003c/p>\n\u003cp>It’s like listening for an hour to a smart, hyperactive friend discuss the art he loves the most; the downloading of information leaves you a little exhausted but mostly elated. Thomson has a gift for making his original observations sound almost obvious — film noir, he writes, “is the one genre that admits we’ll lose,” and \u003cem>Casablanca \u003c/em>is “fake, foolish and fanciful beyond belief” but is still “the best fun.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And while he’s unafraid to dive into the canons of some of cinema’s most celebrated but challenging directors — Michelangelo Antonioni and Ingmar Bergman are both discussed — he takes a refreshingly democratic view. \u003cem>The Passion of Joan of Arc \u003c/em>and \u003cem>Alvin and the Chipmunks: The Squeakquel\u003c/em> earn Thomson’s thorough consideration, as do \u003cem>The Ten Commandments \u003c/em>and \u003cem>Deep Throat\u003c/em>. He thoughtfully, if grudgingly, considers the impact of hardcore pornography on viewers (“It resembles a weekend in Las Vegas, and breeds as many dismayed losers”) and takes on the mediocre-at-best career of filmmaker George Lucas (“a great entrepreneur, and a marker of industry … [with a] contented lack of personality”).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But all of the history, all of the opinion, is in service of answering those previously stated questions. And these: What does film do to us? Does it isolate us or contribute to a common cultural language? There are no sure-thing conclusions in art, but Thomson’s guess is as good as any: We watch movies to see ourselves from unrealistic angles, because we crave the feeling of desire, and we love the artifice, the uncertainty. “It’s an impossible venture,” Thomson writes, “but it is a legacy of American film — the gift of unreality.” Or, in the words of Joan Didion, “We tell ourselves stories in order to live.” Movies, for many of us, are life, and for about 90 minutes, in the comforting darkness of a theater, we can pretend that nothing will ever end. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2012 National Public Radio. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Assaying+The+Legacy+Of+%27The+Big+Screen%27&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“The fact is I am quite happy in a movie, even a bad movie,” admits Binx Bolling, the hero of Walker Percy’s 1961 novel \u003cem>The Moviegoer\u003c/em>. It’s the same for a lot of us — cinema affects us in ways we don’t always understand, and even the worst films appeal to our nostalgia and sense memories in manners that defy the normal rules of taste and logic. (Currently, on my DVR: \u003cem>La Dolce Vita\u003c/em>, a classic I know I \u003cem>should\u003c/em> see at some point, and \u003cem>Gymkata\u003c/em>, a truly terrible 1985 martial-arts flick I’ve watched a dozen times. Guess which one I’m going to turn on tonight?)\u003c/p>\n\u003cp>In \u003cem>The Big Screen\u003c/em>, British-American film critic and historian David Thomson attempts to answer some fundamental questions about the world’s favorite hobby. How do we relate to the movies? “The cinema is the embodiment of ‘let there be light,’ ” he writes. But where does the light come from? Does it illuminate us or blind us?\u003c/p>\n\u003cp>Of course, these are difficult and possibly even unanswerable questions. But Thomson — arguably the world’s most intelligent student of the cinema — proves remarkably up to the task. \u003cem>The Big Screen \u003c/em>is beautiful and expansive, “a love letter to a lost love” that has the capacity to change the way we look at film.\u003c/p>\n\u003cp>Thomson’s book is essentially a collection of new essays, covering movies from D.W. Griffith’s brilliant but notoriously racist \u003cem>The Birth of a Nation \u003c/em>to the critically reviled Adam Sandler “comedy” \u003cem>Jack and Jill\u003c/em>. While there’s not an even remotely boring chapter in the book, the centerpiece of the volume is formed of two long essays, “Sunset and Change” and “Film Studies,” in which Thomson jumps from topic to topic breathlessly, almost suddenly, but with transitions that somehow make more sense than they should.\u003c/p>\n\u003cp>It’s like listening for an hour to a smart, hyperactive friend discuss the art he loves the most; the downloading of information leaves you a little exhausted but mostly elated. Thomson has a gift for making his original observations sound almost obvious — film noir, he writes, “is the one genre that admits we’ll lose,” and \u003cem>Casablanca \u003c/em>is “fake, foolish and fanciful beyond belief” but is still “the best fun.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And while he’s unafraid to dive into the canons of some of cinema’s most celebrated but challenging directors — Michelangelo Antonioni and Ingmar Bergman are both discussed — he takes a refreshingly democratic view. \u003cem>The Passion of Joan of Arc \u003c/em>and \u003cem>Alvin and the Chipmunks: The Squeakquel\u003c/em> earn Thomson’s thorough consideration, as do \u003cem>The Ten Commandments \u003c/em>and \u003cem>Deep Throat\u003c/em>. He thoughtfully, if grudgingly, considers the impact of hardcore pornography on viewers (“It resembles a weekend in Las Vegas, and breeds as many dismayed losers”) and takes on the mediocre-at-best career of filmmaker George Lucas (“a great entrepreneur, and a marker of industry … [with a] contented lack of personality”).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But all of the history, all of the opinion, is in service of answering those previously stated questions. And these: What does film do to us? Does it isolate us or contribute to a common cultural language? There are no sure-thing conclusions in art, but Thomson’s guess is as good as any: We watch movies to see ourselves from unrealistic angles, because we crave the feeling of desire, and we love the artifice, the uncertainty. “It’s an impossible venture,” Thomson writes, “but it is a legacy of American film — the gift of unreality.” Or, in the words of Joan Didion, “We tell ourselves stories in order to live.” Movies, for many of us, are life, and for about 90 minutes, in the comforting darkness of a theater, we can pretend that nothing will ever end. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2012 National Public Radio. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Assaying+The+Legacy+Of+%27The+Big+Screen%27&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Mapping The Road 'From The Closet To The Altar'",
"headTitle": "Mapping The Road ‘From The Closet To The Altar’ | KQED",
"content": "\u003cp>During a college visit to Colorado in September, Ruth Bader Ginsburg told students that she expects to rule this coming term on the Defense of Marriage Act. The 1996 law is already on its deathbed — since last year, the Justice Department has refused to argue in court for its constitutionality — but it remains on the books. That means the 130,000 or so married gay couples in America receive none of the federal benefits that straight married couples do.\u003c/p>\n\u003cp>Naturally, Ginsburg wouldn’t be drawn out on how she’d vote. But Michael Klarman, a Harvard law professor, former Ginsburg clerk and author of a new legal history of same-sex marriage, thinks he already knows the outcome. “The handwriting on the wall is as clear as it ever gets,” he writes. DOMA is going to be scrapped, and soon after same-sex marriage will be the law of the land.\u003c/p>\n\u003cp>How can he be so sure? Well, that’s the story of \u003cem>From the Closet to the Altar\u003c/em>, which looks at the litigation of gay life — and specifically gay marriage — from World War II to today. It comes on the heels of \u003cem>Victory: The Triumphant Gay Revolution\u003c/em>, Linda Hirshman’s excellent recent history of the American gay rights movement. Klarman’s book, in turn, chronicles how the courts responded to that movement — and how judges who once dismissed gay equality out of hand now seemed poised to enshrine it in law.\u003c/p>\n\u003cp>In the 1970s and 1980s, gays made important strides on issues from police harassment to employment to health. But it wasn’t until the mid-1990s, when Hawaii came close to legalizing same-sex unions, that both gay advocates and homophobes began their battle royale. The Hawaii case set off a state-by-state arms race to legalize or block gay nuptials: As of today, six states and Washington, D.C., allow same-sex marriages, with three more — Maryland, Maine and Washington — likely to join them this year.\u003c/p>\n\u003cp>The 50-state marriage battle may be messy, but it has had one major benefit: S\u003cem>ome\u003c/em> gay Americans can wed, and that has helped acclimate the country to its inevitable legalization nationwide. As a question of constitutional law, same-sex marriage is a no-brainer to anyone who has ever read the 14th Amendment. In his meticulous opinion last year, Vaughn Walker, the judge in the California case \u003cem>Perry v. Schwarzenegger \u003c/em>(later \u003cem>Perry v. Brown\u003c/em>), wrote that while laws concerning gays must be given “strict scrutiny,” the highest level of analysis, a law forbidding gay marriage doesn’t even meet the “rational basis test,” the lowest level.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That doesn’t mean any court will just say so, though. Klarman makes the point that when it comes to social issues, courts track American views pretty closely, and they expand rights only when the country can handle it without massive backlash. If sodomy laws were upheld in 1986 and struck down in 2003, it’s not because of a change in jurisprudence; it’s because America became a nation in which such laws were untenable.\u003c/p>\n\u003cp>Since 2010, in a shift more rapid than anyone predicted, poll after poll has shown that a majority of Americans support marriage equality. So when \u003cem>Perry \u003c/em>or another case eventually makes it to the high court, it will be much easier for Anthony Kennedy — “undoubtedly the most powerful justice in the history of the U.S. Supreme Court,” Klarman asserts — to continue the legacy he began back in 1980, when he wrote a surprisingly pro-gay opinion as a judge on the 9th Circuit Court of Appeals. And the 76-year-old Kennedy, who also wrote the decision that voided sodomy laws, probably has an eye on history.\u003c/p>\n\u003cp>“What justice,” Klarman writes, “would not be tempted to author the opinion that within a few short years likely would become known as the \u003cem>Brown v. Board\u003c/em> of the gay rights movement?”\u003c/p>\n\u003cp>Readers of \u003cem>From the Closet to the Altar\u003c/em>, especially gay ones, might regret that Klarman seldom steps beyond the legal frame to discuss the history of marriage itself and why marriage has become nearly the only issue on the gay rights agenda today, supported even by those gays who disdain monogamy and the nuclear family. Like no other custom in America, marriage is a marker of civil equality, a question of citizenship as much as love. Opponents may suggest that marriage has some eternal, inviolable form, but marriage has in fact been altered and expanded throughout American history to reflect society’s changing views toward women, racial minorities, debtors, the mentally disabled, prisoners and other populations once excluded from a bedrock civic institution.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But while Klarman may not give the full picture of marriage equality, his legal analysis is beyond fault — especially given how quickly the terrain is shifting. When his book went to press, the author could still write with a fair degree of assuredness that “Obama is unlikely to endorse gay marriage before the 2012 election,” lest he lose support in swing states like Ohio or Pennsylvania. That outdated statement shouldn’t be held against Klarman. On the contrary, it’s just further confirmation of his argument that at this speed, and with this much support, the legalization of same-sex marriage is a near certainty. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2012 National Public Radio. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mapping+The+Road+%27From+The+Closet+To+The+Altar%27&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>During a college visit to Colorado in September, Ruth Bader Ginsburg told students that she expects to rule this coming term on the Defense of Marriage Act. The 1996 law is already on its deathbed — since last year, the Justice Department has refused to argue in court for its constitutionality — but it remains on the books. That means the 130,000 or so married gay couples in America receive none of the federal benefits that straight married couples do.\u003c/p>\n\u003cp>Naturally, Ginsburg wouldn’t be drawn out on how she’d vote. But Michael Klarman, a Harvard law professor, former Ginsburg clerk and author of a new legal history of same-sex marriage, thinks he already knows the outcome. “The handwriting on the wall is as clear as it ever gets,” he writes. DOMA is going to be scrapped, and soon after same-sex marriage will be the law of the land.\u003c/p>\n\u003cp>How can he be so sure? Well, that’s the story of \u003cem>From the Closet to the Altar\u003c/em>, which looks at the litigation of gay life — and specifically gay marriage — from World War II to today. It comes on the heels of \u003cem>Victory: The Triumphant Gay Revolution\u003c/em>, Linda Hirshman’s excellent recent history of the American gay rights movement. Klarman’s book, in turn, chronicles how the courts responded to that movement — and how judges who once dismissed gay equality out of hand now seemed poised to enshrine it in law.\u003c/p>\n\u003cp>In the 1970s and 1980s, gays made important strides on issues from police harassment to employment to health. But it wasn’t until the mid-1990s, when Hawaii came close to legalizing same-sex unions, that both gay advocates and homophobes began their battle royale. The Hawaii case set off a state-by-state arms race to legalize or block gay nuptials: As of today, six states and Washington, D.C., allow same-sex marriages, with three more — Maryland, Maine and Washington — likely to join them this year.\u003c/p>\n\u003cp>The 50-state marriage battle may be messy, but it has had one major benefit: S\u003cem>ome\u003c/em> gay Americans can wed, and that has helped acclimate the country to its inevitable legalization nationwide. As a question of constitutional law, same-sex marriage is a no-brainer to anyone who has ever read the 14th Amendment. In his meticulous opinion last year, Vaughn Walker, the judge in the California case \u003cem>Perry v. Schwarzenegger \u003c/em>(later \u003cem>Perry v. Brown\u003c/em>), wrote that while laws concerning gays must be given “strict scrutiny,” the highest level of analysis, a law forbidding gay marriage doesn’t even meet the “rational basis test,” the lowest level.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That doesn’t mean any court will just say so, though. Klarman makes the point that when it comes to social issues, courts track American views pretty closely, and they expand rights only when the country can handle it without massive backlash. If sodomy laws were upheld in 1986 and struck down in 2003, it’s not because of a change in jurisprudence; it’s because America became a nation in which such laws were untenable.\u003c/p>\n\u003cp>Since 2010, in a shift more rapid than anyone predicted, poll after poll has shown that a majority of Americans support marriage equality. So when \u003cem>Perry \u003c/em>or another case eventually makes it to the high court, it will be much easier for Anthony Kennedy — “undoubtedly the most powerful justice in the history of the U.S. Supreme Court,” Klarman asserts — to continue the legacy he began back in 1980, when he wrote a surprisingly pro-gay opinion as a judge on the 9th Circuit Court of Appeals. And the 76-year-old Kennedy, who also wrote the decision that voided sodomy laws, probably has an eye on history.\u003c/p>\n\u003cp>“What justice,” Klarman writes, “would not be tempted to author the opinion that within a few short years likely would become known as the \u003cem>Brown v. Board\u003c/em> of the gay rights movement?”\u003c/p>\n\u003cp>Readers of \u003cem>From the Closet to the Altar\u003c/em>, especially gay ones, might regret that Klarman seldom steps beyond the legal frame to discuss the history of marriage itself and why marriage has become nearly the only issue on the gay rights agenda today, supported even by those gays who disdain monogamy and the nuclear family. Like no other custom in America, marriage is a marker of civil equality, a question of citizenship as much as love. Opponents may suggest that marriage has some eternal, inviolable form, but marriage has in fact been altered and expanded throughout American history to reflect society’s changing views toward women, racial minorities, debtors, the mentally disabled, prisoners and other populations once excluded from a bedrock civic institution.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But while Klarman may not give the full picture of marriage equality, his legal analysis is beyond fault — especially given how quickly the terrain is shifting. When his book went to press, the author could still write with a fair degree of assuredness that “Obama is unlikely to endorse gay marriage before the 2012 election,” lest he lose support in swing states like Ohio or Pennsylvania. That outdated statement shouldn’t be held against Klarman. On the contrary, it’s just further confirmation of his argument that at this speed, and with this much support, the legalization of same-sex marriage is a near certainty. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2012 National Public Radio. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mapping+The+Road+%27From+The+Closet+To+The+Altar%27&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s been five years since the Amazon Kindle started one of the most enduring literary controversies of recent times: the fight between e-books and printed books. If you’re a devoted reader, you’re probably already sick of the back and forth between the excitable technophiles and the stubborn Luddites. The proponents of e-books rave about the unexplored avenues, the hypertext, the entire world of literature accessible with just one click. The rest of us — well, we like the way books feel and smell, OK? It might seem sentimental, but that’s falling in love for you. Logic doesn’t necessarily apply.\u003c/p>\n\u003cp>Of course it’s a false dichotomy — there’s room enough for all kinds of readers, and a great novel is a great novel, whether you’re immersed in an old, yellowed paperback or the glowing screen on a smartphone. And there’s really not that much daylight between the technology devotees who geek out about the latest operating system upgrade, and the old-school literature fans who know the name of every local bookstore cat. Whether your hero is Steve Jobs or Stephen Crane, we’re all just in love with information and the power of the word — and that’s the point Robin Sloan attempts to make in his debut novel, \u003cem>Mr. Penumbra’s 24-Hour Bookstore\u003c/em>, one of the most thoughtful and fun reading experiences you’re likely to have this year.\u003c/p>\n\u003cp>Sloan’s novel follows Clay Jannon, a young San Franciscan with a background in the tech industry, as he starts work at the titular bookstore, a mysterious establishment with comically tall shelves and a bizarre, infrequent clientele. Most of the store’s customers don’t buy books at all; they borrow a series of beautiful, cryptic volumes that contain nothing but grids of numbers. Clay recruits some fellow high-tech friends to try to figure out the secret behind the store and its curious proprietor, and they end up on the trail of what might be history’s weirdest book club.\u003c/p>\n\u003cp>It’s a convoluted plot that relies a little too heavily on convenient coincidences, but Sloan pulls it off with his extremely charismatic prose. He’s a deeply funny writer: When the bookstore owner asks Clay if he owns a Kindle, “[i]t feels like it’s the principal asking me if I have weed in my backpack.” And when Clay builds a 3-D computer model of his new workplace, complete with simulated shadows and precise coordinates, he notes: “If this sounds impressive to you, you’re over thirty.” (Disclosure: It does, and I am.)\u003c/p>\n\u003cp>Sloan is new to the fiction game; he’s spent his career as a “media inventor” working for companies like Current TV and Twitter. So it’s not surprising that his book isn’t flawless. Amid the insights (“We all come to life and gather allies and build empires and die, all in a single moment”) and inspired observations (“This is the kind of store that makes you want to be a teenage wizard”) are occasional groaners (“San Francisco is a good place for walks if your legs are strong”) and descriptions too clever by half (a simple bagel becomes a “tasty toroid”). Perhaps the biggest problem with \u003cem>Mr. Penumbra’s 24-Hour Bookstore\u003c/em> is its epilogue, which ties up the book’s loose ends far too neatly. If it weren’t for the perfectly rendered last paragraph, Sloan’s closing pages could have been a disaster, badly marring an otherwise fine novel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But there’s so much large-hearted magic in the book, it seems almost petty to complain. Sloan is remarkably gifted and has an obviously deep affection for both literature and technology. (The “wizards” at Google play a key role in the book, though they do come in for some gentle ribbing.) He believes books and computers can complement each other, make each other better, make the \u003cem>world\u003c/em> better, and he argues his case with the infectious fervor of a fanboy. At its best, \u003cem>Mr. Penumbra’s 24-Hour Bookstore \u003c/em>reminds us of the miracle of reading, no matter how you choose to do it. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2012 National Public Radio. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Page+And+Screen+Make+Peace+In+%27Mr.+Penumbra%27&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But there’s so much large-hearted magic in the book, it seems almost petty to complain. Sloan is remarkably gifted and has an obviously deep affection for both literature and technology. (The “wizards” at Google play a key role in the book, though they do come in for some gentle ribbing.) He believes books and computers can complement each other, make each other better, make the \u003cem>world\u003c/em> better, and he argues his case with the infectious fervor of a fanboy. At its best, \u003cem>Mr. Penumbra’s 24-Hour Bookstore \u003c/em>reminds us of the miracle of reading, no matter how you choose to do it. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2012 National Public Radio. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Page+And+Screen+Make+Peace+In+%27Mr.+Penumbra%27&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Elissa Schappell is the author of \u003c/em>Blueprints for Building Better Girls.\u003c/p>\n\u003cp>I was never more confident in my knowledge of the world of men and women than the summer I was 13. I’d become an expert, certainly not through any \u003cem>hands-on\u003c/em> experience with boys, but by reading the trashy romance novels my best friend, Michele, had pinched from her mother.\u003c/p>\n\u003cp>That summer I read books whose covers featured beautiful wild-haired maidens, heaving bosoms barely contained in torn blouses, on stallions, heads thrown back, submitting to or resisting the advances of some rogue.\u003c/p>\n\u003cp>I liked beginnings that promised drama — unbidden passion and misadventure — and endings that promised happily ever after. I liked the sexy bits. (I really liked the sexy bits.)\u003c/p>\n\u003cp>I found Erica Jong’s \u003cem>Fear of Flying\u003c/em> in my mother’s room. If I’d had any clue it was about a 29-year-old married lady’s quest for casual sex with a stranger, no strings attached (something she describes as “rarer than a unicorn”), if I’d known it was a feminist call to arms — one that would breathe life into the second wave of feminism by challenging women to question how emotionally and sexually fulfilling their lives were — if I’d had any inkling how neurotic the protagonist was (a horny poet named Isadora Wing), or how ambiguous the ending was, I would never have opened it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But I did. The cover was an invitation to naughtiness — a naked woman, spied through a half-opened zipper, her breasts barely obscured.\u003c/p>\n\u003cp>Instead what I found was a parade of totally unerotic sexual encounters. The awkward fumblings of Isadora’s youth, the marathon sex with husband No. 1 that left her limping, the impotence of her charismatic lover Adrian Goodlove, who would lure her away from her second husband, Bennett Wing, a psychoanalyst who never kissed her.\u003c/p>\n\u003cp>What ever happened to tradition? Soul mates united despite all odds, riding off into the sunset on that stallion. I didn’t realize then, of course, how depicting a woman with a sex drive like a man’s and the freedom to act on her impulses without punishment was revolutionary. Or how this message of female independence would ultimately serve me better than any romance novel, which built up my expectations about sex and relationships in a way that was sexist and limiting.\u003c/p>\n\u003cp>Back when I was 13, the greatest thing that could happen to a girl would be for a boy to chase her during recess. On the rare occasion I’d been singled out as a target, I’d let the boy catch me, struggling just the right amount in his arms. I’d feign indignation, although what I really felt was proud and powerful.\u003c/p>\n\u003cp>Later, when I’d fantasize about what it would be like to have a boy’s hands on me, I’d worry about being a nymphomaniac. After all, everyone knows sex was only good between two people in love (and people in love got married). So wasn’t there something wrong with me that I considered the prospect of only having sex with one man incredibly boring and terribly unfair? Men got to do whatever they wanted, why couldn’t I?\u003c/p>\n\u003cp>This was the very type of injustice Jong was challenging. With \u003cem>Fear of Flying\u003c/em>, I got a peek into adulthood, but at the time, I couldn’t make that leap. To me, it was just intimidating. Because if life was as messy and complicated for women as Jong proposed, why would anyone want to grow up?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/series/153588024/pg-13-go-to-teen-reads?ps=books_nav_pg13\">PG-13\u003c/a> \u003cem>is produced and edited by Ellen Silva and Rose Friedman with production assistance from Annalisa Quinn.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2012 National Public Radio. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Anti-Romance+Novel+I+Didn%27t+Know+I+Needed&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"excerpt": "Elissa Schappell was 13 and in search of a delicious romance novel when she stumbled on Erica Jong's feminist call to arms, \u003cem>Fear of Flying\u003c/em>. It didn't resonate with her at the time, but later she appreciated its message. Is there a book you've changed your mind about? Tell us in the comments.",
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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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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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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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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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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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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"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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"title": "Possible",
"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.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"source": "npr"
},
"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
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