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To give you a hint about Keegan’s views on who’s to blame for that situation, be aware that when the title story was published in France earlier this year, it was called, “Misogynie.”\u003c/p>\n\u003cp>[aside postid='arts_13937655']In that story, a Dublin office worker named Cathal is feeling the minutes drag by on a Friday afternoon. Something about the situation soon begins to seem “off.” Cathal’s boss comes over and urges him to “call it a day”; Cathal absentmindedly neglects to save the budget file he’s been working on. He refrains from checking his messages on the bus ride home, because, as we’re told, he: “found he wasn’t ready — then wondered if anyone ever was ready for what was difficult or painful.” Cathal eventually returns to his empty house and thinks about his fiancée who’s moved out.\u003c/p>\n\u003cp>On first reading we think: poor guy, he’s numb because he’s been dumped; on rereading — and Keegan is the kind of writer whose spare, slippery work you want to reread — maybe we think differently. Keegan’s sentences shape shift the second time ’round, twisting themselves into a more emotionally complicated story. For instance, here’s her brief description of how Cathal’s bus ride home ends:\u003c/p>\n\u003cblockquote>\u003cp>[A]t the stop for Jack White’s Inn, a young woman came down the aisle and sat in the vacated seat across from him. He sat breathing in her scent until it occurred to him that there must be thousands if not hundreds of thousands of women who smelled the same.\u003c/p>\u003c/blockquote>\n\u003cp>Perhaps Cathal is clumsily trying to console himself; perhaps, though, the French were onto something in entitling this story, “Misogynie.”\u003c/p>\n\u003cp>[aside postid='arts_13937277']It’s evident from the arrangement of this collection that Keegan’s nuanced, suggestive style is one she’s achieved over the years. The three short stories in \u003cem>So Late in the Day\u003c/em> appear in reverse chronological order, so that the last story, “Antarctica,” is the oldest, first published in 1999. It’s far from an obvious tale, but there’s a definite foreboding “woman-in-peril” vibe going on throughout “Antarctica.” In contrast, the central story of this collection, called, “The Long and Painful Death,” which was originally published in 2007, is a pensive masterpiece about male anger toward successful women and the female impulse to placate that anger.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Our unnamed heroine, a writer, has been awarded a precious two-week’s residency at the isolated Heinrich Böll house on Achill Island, a real place on Ireland’s west coast. She arrives at the house, exhausted, and falls asleep on the couch. Keegan writes that: “When she woke, she felt the tail end of a dream — a feeling, like silk — disappearing; …”\u003c/p>\n\u003cp>The house phone starts ringing and the writer, reluctantly, answers it. A man, who identifies himself as a professor of German literature, says he’s standing right outside and that he’s gotten permission to tour the house.\u003c/p>\n\u003cp>Our writer, like many women, needs more work on her personal boundaries: She puts off this unwanted visitor ’till evening; but she’s not strong enough to refuse him altogether. After she puts the phone down, we’re told that:\u003c/p>\n\u003cp>“What had begun as a fine day was still a fine day, but had changed; now that she had fixed a time, the day in some way was obliged to proceed in the direction of the German’s coming.”\u003c/p>\n\u003cp>[aside postid='arts_13937144']She spends valuable writing time making a cake for her guest, who, when he arrives, turns out to be a man with “a healthy face and angry blue eyes.” He mentions something about how:\u003c/p>\n\u003cp>“Many people want to come here. … Many, many applications.” ”\u003c/p>\n\u003cp>“I am lucky, I know,” [murmurs our writer.]\u003c/p>\n\u003cp>The professor is that tiresome kind of guest who “could neither create conversation nor respond nor be content to have none.” That is, until he reveals himself to be a raging green-eyed monster of an academic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This story is the only one of the three that has what I’d consider to be a happy ending. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Our unnamed heroine, a writer, has been awarded a precious two-week’s residency at the isolated Heinrich Böll house on Achill Island, a real place on Ireland’s west coast. She arrives at the house, exhausted, and falls asleep on the couch. Keegan writes that: “When she woke, she felt the tail end of a dream — a feeling, like silk — disappearing; …”\u003c/p>\n\u003cp>The house phone starts ringing and the writer, reluctantly, answers it. A man, who identifies himself as a professor of German literature, says he’s standing right outside and that he’s gotten permission to tour the house.\u003c/p>\n\u003cp>Our writer, like many women, needs more work on her personal boundaries: She puts off this unwanted visitor ’till evening; but she’s not strong enough to refuse him altogether. After she puts the phone down, we’re told that:\u003c/p>\n\u003cp>“What had begun as a fine day was still a fine day, but had changed; now that she had fixed a time, the day in some way was obliged to proceed in the direction of the German’s coming.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She spends valuable writing time making a cake for her guest, who, when he arrives, turns out to be a man with “a healthy face and angry blue eyes.” He mentions something about how:\u003c/p>\n\u003cp>“Many people want to come here. … Many, many applications.” ”\u003c/p>\n\u003cp>“I am lucky, I know,” [murmurs our writer.]\u003c/p>\n\u003cp>The professor is that tiresome kind of guest who “could neither create conversation nor respond nor be content to have none.” That is, until he reveals himself to be a raging green-eyed monster of an academic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This story is the only one of the three that has what I’d consider to be a happy ending. But, maybe upon rereading I’ll find still another tone lurking in Keegan’s magnificently simple, resonant sentences.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Claire+Keegan%27s+%27stories+of+women+and+men%27+explore+what+goes+wrong+between+them&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Tracy Chapman Becomes First Black Person to Win CMAs’ Song of the Year",
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"content": "\u003cp>Tracy Chapman was honored with Song of the Year for her 1988 folk anthem “Fast Car” at the Country Music Awards on Wednesday, becoming the first Black songwriter to ever win the award.\u003c/p>\n\u003cp>[aside postid='arts_13937563']“Fast Car” peaked at No. 6 on the Billboard Hot 100 chart following its release more than 30 years ago. The song was nominated for three Grammys when it first came out, and Chapman won Best Female Pop Vocal Performance.\u003c/p>\n\u003cp>But it got a second wind in recent months after singer Luke Combs came out with a cover of the song in April. His version peaked at No. 2 on the Hot 100 chart and won Single of the Year at the CMAs in Nashville.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Fr7oYjnt3bM\u003c/p>\n\u003cp>Chapman did not attend the ceremony, but she sent a written statement.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m sorry I couldn’t join you all tonight,” she said. “It’s truly an honor for my song to be newly recognized after 35 years of its debut. Thank you to the CMAs and a special thanks to Luke and all of the fans of ‘Fast Car.’”\u003c/p>\n\u003cp>[aside postid='arts_13937489']Combs called “Fast Car” his “first favorite song” in his acceptance speech for Single of the Year.\u003c/p>\n\u003cp>“First and foremost, I want to thank Tracy Chapman for writing one of the best songs of all time,” he said. “Never intended for that — I just recorded it because I love this song so much. It’s meant so much to me throughout my entire life. It’s the first favorite song I ever had from the time I was four years old.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AIOAlaACuv4\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Chapman, originally from Cleveland, is additionally behind such hits as “Give Me One Reason,” “Baby Can I Hold You” and “Crossroads.” She has been nominated for 13 Grammys and won four.\u003c/p>\n\u003cdiv class=\"fullattribution\">\n\u003cp>\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tracy+Chapman+becomes+the+first+Black+person+to+win+Song+of+the+Year+at+the+CMAs&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv>\u003cem>This year’s Country Music Awards ceremony will be available to watch on Nov. 9 at 5 p.m. via \u003ca href=\"https://www.abcinstantaccess.com/\">ABC Instant Access\u003c/a>. It begins streaming on \u003ca href=\"https://www.hulu.com/hub/home\">Hulu\u003c/a> on Nov. 10.\u003c/em>\u003c/div>\n\u003c/div>\n\n",
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"excerpt": "Chapman won the award for her 1988 hit ‘Fast Car,’ which got renewed attention after singer Luke Combs covered the song.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Fast Car” peaked at No. 6 on the Billboard Hot 100 chart following its release more than 30 years ago. The song was nominated for three Grammys when it first came out, and Chapman won Best Female Pop Vocal Performance.\u003c/p>\n\u003cp>But it got a second wind in recent months after singer Luke Combs came out with a cover of the song in April. His version peaked at No. 2 on the Hot 100 chart and won Single of the Year at the CMAs in Nashville.\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/Fr7oYjnt3bM'\n title='//www.youtube.com/embed/Fr7oYjnt3bM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Chapman did not attend the ceremony, but she sent a written statement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m sorry I couldn’t join you all tonight,” she said. “It’s truly an honor for my song to be newly recognized after 35 years of its debut. Thank you to the CMAs and a special thanks to Luke and all of the fans of ‘Fast Car.’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Combs called “Fast Car” his “first favorite song” in his acceptance speech for Single of the Year.\u003c/p>\n\u003cp>“First and foremost, I want to thank Tracy Chapman for writing one of the best songs of all time,” he said. “Never intended for that — I just recorded it because I love this song so much. It’s meant so much to me throughout my entire life. It’s the first favorite song I ever had from the time I was four years old.”\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/AIOAlaACuv4'\n title='//www.youtube.com/embed/AIOAlaACuv4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Chapman, originally from Cleveland, is additionally behind such hits as “Give Me One Reason,” “Baby Can I Hold You” and “Crossroads.” She has been nominated for 13 Grammys and won four.\u003c/p>\n\u003cdiv class=\"fullattribution\">\n\u003cp>\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tracy+Chapman+becomes+the+first+Black+person+to+win+Song+of+the+Year+at+the+CMAs&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv>\u003cem>This year’s Country Music Awards ceremony will be available to watch on Nov. 9 at 5 p.m. via \u003ca href=\"https://www.abcinstantaccess.com/\">ABC Instant Access\u003c/a>. It begins streaming on \u003ca href=\"https://www.hulu.com/hub/home\">Hulu\u003c/a> on Nov. 10.\u003c/em>\u003c/div>\n\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Inside the Weird and Delightful Origins of the Jungle Gym, Which Just Turned 100",
"headTitle": "Inside the Weird and Delightful Origins of the Jungle Gym, Which Just Turned 100 | KQED",
"content": "\u003cp>This story starts in the fourth dimension.\u003c/p>\n\u003cp>Or, more specifically, with a British mathematician who, in the late 1800s, was intrigued by the fourth dimension and how to teach disinterested children about it.\u003c/p>\n\u003cp>Charles Hinton wore a lot of hats. He wrote sci-fi stories before there was sci-fi — he called them “scientific romances.” At Princeton, where he worked for a time as mathematics instructor, he invented a baseball pitching machine powered by gunpowder. He also practiced polygamy, which was against both the mores and laws of his native England. And when he was convicted of bigamy in the 1880s, he was forced to move his young family to Japan where he found work teaching mathematics.\u003c/p>\n\u003cp>We will save all of that for the biopic, because for the purposes of \u003cem>this \u003c/em>story, Hinton was the unintentional inspiration behind the jungle gym — the patent for which has just turned 100.\u003c/p>\n\u003cp>It turns out that the history of the jungle gym, and its sibling the monkey bars, is full of weird and delightful twists and sub-plots that take us from Japan to suburban Chicago and touch on child development theories and, yes, theoretical math.\u003c/p>\n\u003ch3>Imagining dimensions — in bamboo\u003c/h3>\n\u003cp>Hinton was a mathematician who explored the concept of the fourth dimension and how to represent it. His model of a tesseract as a way to represent the fourth dimension in geometrical space has since inspired a long lineage of science fiction writing and movies — from \u003ca href=\"https://www.youtube.com/watch?v=MHJBdfmeCss\">\u003cem>A Wrinkle in Time\u003c/em>\u003c/a> to \u003ca href=\"https://www.youtube.com/watch?v=iJio07EtKYc\">\u003cem>Interstellar\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yet it was while living in Japan that Hinton struggled to get his students to adequately wrestle with the concept of the fourth dimension.\u003c/p>\n\u003cp>“He said, you know, the reason these students can’t grasp the fourth dimension is because they were never exposed to the \u003cem>third \u003c/em>dimension as children,” says Luke Fannin, a primatologist and Ph.D. candidate at Dartmouth College, who became obsessed with finding out where the term “monkey bars” came from (more on that later) and ended up \u003ca href=\"https://www.smithsonianmag.com/history/history-monkey-bars-180981556/\">becoming something of a Hinton family expert\u003c/a>.\u003c/p>\n\u003cp>Hinton theorized that since we spend so much of our lives simply walking in straight lines, and not using all of the three-dimensional space around us, we have an even harder time making the mental leap to fourth dimension.\u003c/p>\n\u003cp>[aside postid='arts_13934227']His solution was to train young children, namely his own kids, to internalize the third dimension. To pull this off, Hinton built his children a series of stacked bamboo cubes. He labeled the bamboo in all three directions, Fannin says: “Where the junctions would be, he would put X, Y, Z coordinates.” Then he attempted to turn these stacked cubes into a game. “He would say, ‘X2, Y4, Z3 — go! And all the kids would race each other towards the correct coordinate,'” says Fannin.\u003c/p>\n\u003cp>If that does not sound like a fun game to you, you are not alone. And those bamboo cubes never amounted to much. But years later, Hinton’s son Sebastian would recall how much fun it was to climb and swing on them.\u003c/p>\n\u003cp>“And he goes, ‘That’s what I remember. I don’t remember anything about the math, but I remember that it was so fun,'” says Fannin.\u003c/p>\n\u003cp>By now it was the early 1920s, and the junior Hinton had moved to Winnetka, Illinois where he worked as a patent lawyer. He dreamed of recreating the bamboo climbing structure of his youth — minus the not very fun math games — and he started describing his plans at a dinner party one night.\u003c/p>\n\u003cp>Winnetka at this time was a hotbed for progressive education. The village was taken with the educational philosophy of John Dewey, which called for “whole child education.” This meant not just teaching reading, writing and arithmetic, but also how to be healthy and active humans.\u003c/p>\n\u003cp>So, as Hinton was describing his dream climbing structure, the dinner party was stacked with educators, including the superintendent of the Winnetka City Schools, Carleton Washburne. Fannin says he imagines Washburne’s eyes widening before telling Hinton, “We need to build this in the schools!”\u003c/p>\n\u003cp>[aside postid='arts_13906656']Soon after, Hinton began filing his early patents for the design, which he registered to something he called JungleGym Inc. And the rest, as they say, is history.\u003c/p>\n\u003cp>If that dinner party had taken place anywhere else in the world, this iconic piece of equipment may never have existed. Or, as Fannin says, “It only stays in Hinton’s backyard. It never becomes sort of the cultural mainstay that is now ubiquitous on most playgrounds.”\u003c/p>\n\u003ch3>The difference between monkeys and apes\u003c/h3>\n\u003cp>From the outside, there’s nothing remarkable about the old Victorian home at 411 Linden Street in Winnetka, Illinois, which these days serves as the headquarters for the town’s historical society.\u003c/p>\n\u003cp>Inside, the 30,000 artifacts range from typewriters to vacuum cleaners. But for visitors who walk through a small gate into the back yard, surrounded by 20-foot tall conifers, there’s a little bit of a hidden treasure, says Mary Treishman, the executive director of the Winnetka Historical Society.\u003c/p>\n\u003cp>“We currently don’t have a historical plaque on it,” she says. “We just have this laminated sign that says, ‘Please do not climb on this artifact. It’s not safe.'”\u003c/p>\n\u003cp>That artifact is a 100-year-old jungle gym — the first real version.\u003c/p>\n\u003cfigure id=\"attachment_13937784\" class=\"wp-caption aligncenter\" style=\"max-width: 1518px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937784\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.56.48-AM.png\" alt=\"A scaffolding-like play structure in the shape of a cube. Two children stand on top of it.\" width=\"1518\" height=\"1180\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.56.48-AM.png 1518w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.56.48-AM-800x622.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.56.48-AM-1020x793.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.56.48-AM-160x124.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.56.48-AM-768x597.png 768w\" sizes=\"(max-width: 1518px) 100vw, 1518px\">\u003cfigcaption class=\"wp-caption-text\">Hinton’s original jungle gym, pictured here in the 1930s at the Horace Mann School before it was moved to the Winnetka Historical Society. \u003ccite>(Courtesy of Winnetka Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To this day, kids sometimes still stumble across it, and Treishman has to politely tell them to stay off.\u003c/p>\n\u003cp>“I’ve seen adults come back here and really want to climb it because it reminds them of their childhood,” she says, adding that something about the classic bars really animates people. “The memories of this climbing structure are very deep. This is what everyone played on.”\u003c/p>\n\u003cp>Few things last 100 years. Children’s toys seem particularly fickle. Pet rocks, pogo sticks and scooters have all had full boom and bust cycles while the jungle gym — unflashy, workman-like, no fuss — keeps children coming back. Why is that?\u003c/p>\n\u003cp>It may be that the act of swinging and climbing in the jungle gym contains\u003cem> just enough \u003c/em>risk, says Ellen Sandseter — a professor at the Department of Physical Education and Health at Norway’s Queen Maud University College, and an expert on risky play.\u003c/p>\n\u003cp>[aside postid='arts_13886018']Sandseter says the jungle gym, and its sibling the monkey bars, offer a lot of challenging and also risky play, which is a good thing. She says it helps kids’ physical development — think motor skills — and their mental health, by building courage and self-confidence while reducing anxiety.\u003c/p>\n\u003cp>What’s more, unlike a lot of newer equipment that tells kids how it’s supposed to be used, Sandseter says the beauty of the jungle gym is in its simplicity.\u003c/p>\n\u003cp>“A monkey bar could be used in many different ways. And it, therefore, also affords creativity among children,” she says.\u003c/p>\n\u003cp>This all may help explain why the jungle gym has endured 100 years. But what about Fannin’s original question: how did the monkey bars get their name? Well, in the original 1923 patent for the jungle gym, Hinton seems to imagine children playing on it in language that has an ethereal quality of dreaming, of imagination:\u003c/p>\n\u003cp>\u003cem>“I have designed a climbing apparatus, so proportioned and constructed that it provides a kind of forest top through which a troop of children may play in a manner somewhat similar to that of a troop of monkeys through the treetops in a jungle.”\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13937785\" class=\"wp-caption aligncenter\" style=\"max-width: 1552px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937785\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.59.31-AM.png\" alt=\"Blueprints for the first jungle gym play structure.\" width=\"1552\" height=\"1140\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.59.31-AM.png 1552w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.59.31-AM-800x588.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.59.31-AM-1020x749.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.59.31-AM-160x118.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.59.31-AM-768x564.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.59.31-AM-1536x1128.png 1536w\" sizes=\"(max-width: 1552px) 100vw, 1552px\">\u003cfigcaption class=\"wp-caption-text\">Hinton’s plans for the jungle gym, as outlined in his patent application. \u003ccite>(United States Patent and Trademark Office, Sebastian Hinton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s an illustration of it in the last patent he had approved. It basically is a jungle gym, and then adhered next to it is the ‘Accessory monkey runway,'” says Fannin. AKA, the monkey bars.\u003c/p>\n\u003cp>It’s worth remembering, Hinton was a patent lawyer, not a primatologist. And that behavior — swinging by your arms — is \u003cem>ape \u003c/em>behavior, not what monkeys do. So should they be called ape bars?\u003c/p>\n\u003cp>[aside postid='arts_13883118']“If you want to be pedantic about it,” says Fannin. “But I love the term monkey bars.”\u003c/p>\n\u003cp>Sadly, Sebastian Hinton never saw his invention get the U.S. Patent Office’s stamp of approval. He died in April of 1923, just six months before his patent was officially approved.\u003c/p>\n\u003cp>Much has changed since then: safety concerns have softened materials and rounded edges in playgrounds. But Hinton’s simple design that doesn’t dictate behavior, but facilitates it, has endured.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Perhaps it’s precisely because of this freedom that jungle gyms have afforded children the chance to dream for the last century. And maybe some of them will even dream about new dimensions.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Inside+the+weird+and+delightful+origins+of+the+jungle+gym%2C+which+just+turned+100&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This story starts in the fourth dimension.\u003c/p>\n\u003cp>Or, more specifically, with a British mathematician who, in the late 1800s, was intrigued by the fourth dimension and how to teach disinterested children about it.\u003c/p>\n\u003cp>Charles Hinton wore a lot of hats. He wrote sci-fi stories before there was sci-fi — he called them “scientific romances.” At Princeton, where he worked for a time as mathematics instructor, he invented a baseball pitching machine powered by gunpowder. He also practiced polygamy, which was against both the mores and laws of his native England. And when he was convicted of bigamy in the 1880s, he was forced to move his young family to Japan where he found work teaching mathematics.\u003c/p>\n\u003cp>We will save all of that for the biopic, because for the purposes of \u003cem>this \u003c/em>story, Hinton was the unintentional inspiration behind the jungle gym — the patent for which has just turned 100.\u003c/p>\n\u003cp>It turns out that the history of the jungle gym, and its sibling the monkey bars, is full of weird and delightful twists and sub-plots that take us from Japan to suburban Chicago and touch on child development theories and, yes, theoretical math.\u003c/p>\n\u003ch3>Imagining dimensions — in bamboo\u003c/h3>\n\u003cp>Hinton was a mathematician who explored the concept of the fourth dimension and how to represent it. His model of a tesseract as a way to represent the fourth dimension in geometrical space has since inspired a long lineage of science fiction writing and movies — from \u003ca href=\"https://www.youtube.com/watch?v=MHJBdfmeCss\">\u003cem>A Wrinkle in Time\u003c/em>\u003c/a> to \u003ca href=\"https://www.youtube.com/watch?v=iJio07EtKYc\">\u003cem>Interstellar\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet it was while living in Japan that Hinton struggled to get his students to adequately wrestle with the concept of the fourth dimension.\u003c/p>\n\u003cp>“He said, you know, the reason these students can’t grasp the fourth dimension is because they were never exposed to the \u003cem>third \u003c/em>dimension as children,” says Luke Fannin, a primatologist and Ph.D. candidate at Dartmouth College, who became obsessed with finding out where the term “monkey bars” came from (more on that later) and ended up \u003ca href=\"https://www.smithsonianmag.com/history/history-monkey-bars-180981556/\">becoming something of a Hinton family expert\u003c/a>.\u003c/p>\n\u003cp>Hinton theorized that since we spend so much of our lives simply walking in straight lines, and not using all of the three-dimensional space around us, we have an even harder time making the mental leap to fourth dimension.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>His solution was to train young children, namely his own kids, to internalize the third dimension. To pull this off, Hinton built his children a series of stacked bamboo cubes. He labeled the bamboo in all three directions, Fannin says: “Where the junctions would be, he would put X, Y, Z coordinates.” Then he attempted to turn these stacked cubes into a game. “He would say, ‘X2, Y4, Z3 — go! And all the kids would race each other towards the correct coordinate,'” says Fannin.\u003c/p>\n\u003cp>If that does not sound like a fun game to you, you are not alone. And those bamboo cubes never amounted to much. But years later, Hinton’s son Sebastian would recall how much fun it was to climb and swing on them.\u003c/p>\n\u003cp>“And he goes, ‘That’s what I remember. I don’t remember anything about the math, but I remember that it was so fun,'” says Fannin.\u003c/p>\n\u003cp>By now it was the early 1920s, and the junior Hinton had moved to Winnetka, Illinois where he worked as a patent lawyer. He dreamed of recreating the bamboo climbing structure of his youth — minus the not very fun math games — and he started describing his plans at a dinner party one night.\u003c/p>\n\u003cp>Winnetka at this time was a hotbed for progressive education. The village was taken with the educational philosophy of John Dewey, which called for “whole child education.” This meant not just teaching reading, writing and arithmetic, but also how to be healthy and active humans.\u003c/p>\n\u003cp>So, as Hinton was describing his dream climbing structure, the dinner party was stacked with educators, including the superintendent of the Winnetka City Schools, Carleton Washburne. Fannin says he imagines Washburne’s eyes widening before telling Hinton, “We need to build this in the schools!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Soon after, Hinton began filing his early patents for the design, which he registered to something he called JungleGym Inc. And the rest, as they say, is history.\u003c/p>\n\u003cp>If that dinner party had taken place anywhere else in the world, this iconic piece of equipment may never have existed. Or, as Fannin says, “It only stays in Hinton’s backyard. It never becomes sort of the cultural mainstay that is now ubiquitous on most playgrounds.”\u003c/p>\n\u003ch3>The difference between monkeys and apes\u003c/h3>\n\u003cp>From the outside, there’s nothing remarkable about the old Victorian home at 411 Linden Street in Winnetka, Illinois, which these days serves as the headquarters for the town’s historical society.\u003c/p>\n\u003cp>Inside, the 30,000 artifacts range from typewriters to vacuum cleaners. But for visitors who walk through a small gate into the back yard, surrounded by 20-foot tall conifers, there’s a little bit of a hidden treasure, says Mary Treishman, the executive director of the Winnetka Historical Society.\u003c/p>\n\u003cp>“We currently don’t have a historical plaque on it,” she says. “We just have this laminated sign that says, ‘Please do not climb on this artifact. It’s not safe.'”\u003c/p>\n\u003cp>That artifact is a 100-year-old jungle gym — the first real version.\u003c/p>\n\u003cfigure id=\"attachment_13937784\" class=\"wp-caption aligncenter\" style=\"max-width: 1518px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937784\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.56.48-AM.png\" alt=\"A scaffolding-like play structure in the shape of a cube. Two children stand on top of it.\" width=\"1518\" height=\"1180\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.56.48-AM.png 1518w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.56.48-AM-800x622.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.56.48-AM-1020x793.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.56.48-AM-160x124.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.56.48-AM-768x597.png 768w\" sizes=\"(max-width: 1518px) 100vw, 1518px\">\u003cfigcaption class=\"wp-caption-text\">Hinton’s original jungle gym, pictured here in the 1930s at the Horace Mann School before it was moved to the Winnetka Historical Society. \u003ccite>(Courtesy of Winnetka Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To this day, kids sometimes still stumble across it, and Treishman has to politely tell them to stay off.\u003c/p>\n\u003cp>“I’ve seen adults come back here and really want to climb it because it reminds them of their childhood,” she says, adding that something about the classic bars really animates people. “The memories of this climbing structure are very deep. This is what everyone played on.”\u003c/p>\n\u003cp>Few things last 100 years. Children’s toys seem particularly fickle. Pet rocks, pogo sticks and scooters have all had full boom and bust cycles while the jungle gym — unflashy, workman-like, no fuss — keeps children coming back. Why is that?\u003c/p>\n\u003cp>It may be that the act of swinging and climbing in the jungle gym contains\u003cem> just enough \u003c/em>risk, says Ellen Sandseter — a professor at the Department of Physical Education and Health at Norway’s Queen Maud University College, and an expert on risky play.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Sandseter says the jungle gym, and its sibling the monkey bars, offer a lot of challenging and also risky play, which is a good thing. She says it helps kids’ physical development — think motor skills — and their mental health, by building courage and self-confidence while reducing anxiety.\u003c/p>\n\u003cp>What’s more, unlike a lot of newer equipment that tells kids how it’s supposed to be used, Sandseter says the beauty of the jungle gym is in its simplicity.\u003c/p>\n\u003cp>“A monkey bar could be used in many different ways. And it, therefore, also affords creativity among children,” she says.\u003c/p>\n\u003cp>This all may help explain why the jungle gym has endured 100 years. But what about Fannin’s original question: how did the monkey bars get their name? Well, in the original 1923 patent for the jungle gym, Hinton seems to imagine children playing on it in language that has an ethereal quality of dreaming, of imagination:\u003c/p>\n\u003cp>\u003cem>“I have designed a climbing apparatus, so proportioned and constructed that it provides a kind of forest top through which a troop of children may play in a manner somewhat similar to that of a troop of monkeys through the treetops in a jungle.”\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13937785\" class=\"wp-caption aligncenter\" style=\"max-width: 1552px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937785\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.59.31-AM.png\" alt=\"Blueprints for the first jungle gym play structure.\" width=\"1552\" height=\"1140\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.59.31-AM.png 1552w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.59.31-AM-800x588.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.59.31-AM-1020x749.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.59.31-AM-160x118.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.59.31-AM-768x564.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-08-at-10.59.31-AM-1536x1128.png 1536w\" sizes=\"(max-width: 1552px) 100vw, 1552px\">\u003cfigcaption class=\"wp-caption-text\">Hinton’s plans for the jungle gym, as outlined in his patent application. \u003ccite>(United States Patent and Trademark Office, Sebastian Hinton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s an illustration of it in the last patent he had approved. It basically is a jungle gym, and then adhered next to it is the ‘Accessory monkey runway,'” says Fannin. AKA, the monkey bars.\u003c/p>\n\u003cp>It’s worth remembering, Hinton was a patent lawyer, not a primatologist. And that behavior — swinging by your arms — is \u003cem>ape \u003c/em>behavior, not what monkeys do. So should they be called ape bars?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“If you want to be pedantic about it,” says Fannin. “But I love the term monkey bars.”\u003c/p>\n\u003cp>Sadly, Sebastian Hinton never saw his invention get the U.S. Patent Office’s stamp of approval. He died in April of 1923, just six months before his patent was officially approved.\u003c/p>\n\u003cp>Much has changed since then: safety concerns have softened materials and rounded edges in playgrounds. But Hinton’s simple design that doesn’t dictate behavior, but facilitates it, has endured.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Perhaps it’s precisely because of this freedom that jungle gyms have afforded children the chance to dream for the last century. And maybe some of them will even dream about new dimensions.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Inside+the+weird+and+delightful+origins+of+the+jungle+gym%2C+which+just+turned+100&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Barbra Streisand's Memoir Shows She Wasn't Born a Leading Lady — She Made Herself One",
"headTitle": "Barbra Streisand’s Memoir Shows She Wasn’t Born a Leading Lady — She Made Herself One | KQED",
"content": "\u003cp>The season of the celebrity memoir is upon us. In just the past few months \u003ca href=\"https://www.kqed.org/arts/13936729/britney-spears-book-autobiography-the-woman-in-me-gallery-books\">Britney Spears\u003c/a>, Jada Pinkett Smith, Kerry Washington, and more have showered us with bombshells and revelations about their origin stories and private lives. Despite those heavy hitters and the crowded field they occupy, the celebrity memoir I’ve coveted most is that of the singular Ms. Barbra Streisand. Thanks to the opportunity to speak with her for this week’s edition of \u003cem>It’s Been A Minute\u003c/em>, I was able to get my hands on a copy.\u003c/p>\n\u003cp>For me, the iconography of Streisand begins with her nails. More than the deeply parted bouffant of Streisand’s early stardom, or the sleek bob she adopted in the ’90s, or even the smoky chevrons of her signature cat eye, her elegant talons — all natural, by the way — are visual proof of Streisand’s trademark steadfastness.\u003c/p>\n\u003cp>As the old story goes, when Streisand was a fledgling actor, her mother suggested she take typing classes to become a secretary in the New York school system. Streisand grew out her nails in refusal, went all in on show business, and the rest is history — though Streisand now concedes that the ability to type might have made book writing a bit easier.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937733 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/mynameisbarbra_custom-29d0cf4fa23d7c15d82e2915d82cb3dfe1267e51.jpg\" alt=\"\" width=\"200\" height=\"303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/mynameisbarbra_custom-29d0cf4fa23d7c15d82e2915d82cb3dfe1267e51.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/mynameisbarbra_custom-29d0cf4fa23d7c15d82e2915d82cb3dfe1267e51-160x242.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">Streisand’s memoir, \u003cem>My Name Is Barbra\u003c/em>, is nearly 1,000 pages of such gumption, her rhythmic Brooklyn cadence communicated via countless ellipses and more than a few pleasant divergences on her favorite kind of egg roll or a particularly good antique shopping trip. There was the time Streisand jumped in to offer a blocking cue to Robert Redford on the set of \u003cem>The Way We Were\u003c/em>. And of \u003cem>course\u003c/em> she informed the director of the best way to block herself for her Broadway debut at the tender age of 20.\u003c/p>\n\u003cp>Years later, when everyone from her agent to dozens of producers suggested \u003cem>Yentl\u003c/em> was “too Jewish” to connect with mainstream audiences, she pressed on, eventually garnering five Academy Award nominations and one win for the film. The film took over 15 years to make, but ultimately Streisand’s resolve won out. “I became what I wanted to be … I don’t want somebody telling me what I can’t be,” she told me.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13937207']Across the book’s 59 chapters and many decades, Streisand is careful to uplift the names of those who encouraged, impressed, or even challenged her. Her detractors tend to be aired out or paid dust. She recounts her life as a series of odysseys, and she the ever triumphant victor.\u003c/p>\n\u003cp>Frankly, she’s earned it. Her resumé is living legend: more than 50 albums, a box office titan, and a whole EGOT (Emmy, Grammy, Oscar and Tony for those unfamiliar). She was told to alter her features and change her name, and by not doing so, she redefined Hollywood notions of beauty and relatability. But even I’ve known the diva reputation that has followed her for decades and wanted to go there. “Divas, I don’t think, come from Brooklyn,” Streisand quipped to me, and yet the rumors persist. Sexism and misogyny are to blame, but there’s also a fundamental misread of Streisand’s artistry at play.\u003c/p>\n\u003cfigure id=\"attachment_13937736\" class=\"wp-caption aligncenter\" style=\"max-width: 1808px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937736\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-12.20.32-PM.png\" alt=\"A young woman, casually dressed, talks on a landline telephone in a dressing room, a table scattered with make-up in front of her.\" width=\"1808\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-12.20.32-PM.png 1808w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-12.20.32-PM-800x535.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-12.20.32-PM-1020x683.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-12.20.32-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-12.20.32-PM-768x514.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-12.20.32-PM-1536x1028.png 1536w\" sizes=\"(max-width: 1808px) 100vw, 1808px\">\u003cfigcaption class=\"wp-caption-text\">Barbra Streisand in her dressing room in October 1965. \u003ccite>(Harry Benson/ Daily Express/ Hulton Archive/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Our culture loves to see and persistently pause Streisand as Babs, the consummate prima donna, our forever leading lady. But in doing so, audiences, critics and biographers have failed to acknowledge the shrewd image-maker she has always been — the architect of her persona and performance.\u003c/p>\n\u003cp>[aside postid='arts_13936614']In 1984, Streisand became the first woman to win the Golden Globe for Best Director for her work on \u003cem>Yentl\u003c/em>, and still remains one of only three female winners in history. In 1996, her direction on \u003cem>The Mirror Has Two Faces\u003c/em> led Lauren Bacall to the first Academy Award nomination in Bacall’s then five-decade career. By the time all American women had won the right to open a credit card without a husband, Streisand had already founded two production companies. When I asked Streisand about her legacy as a trailblazing businesswoman, she insisted that her goal wasn’t to become a mogul, but simply to serve her ultimate artistic vision. “I just never thought about, really, the business aspect. I just thought about it from the control aspect,” she said.\u003c/p>\n\u003cp>And still, even as a devoted fan, I don’t think I grasped the depth of Streisand’s mastery until I saw a video of her that recently made the rounds on social media. It’s a behind-the-scenes clip of an explosive scene from \u003cem>Yentl\u003c/em>. Streisand is in a pixie-length wig topped with a yarmulke, seamlessly shifting gears between directing a screaming Mandy Patinkin, instructing the camera operator, and playing a key emotional moment in character. We don’t see a diva, we see a genius.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d0MngamiROs\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Streisand’s legacy still scatters like a constellation across our cultural landscape; Jane Campion’s Oscar win, Lady Gaga’s screen goddess turn, Beyoncé’s Parkwood Entertainment. But artistic powerhouses like them, like Barbra, don’t spring forth, fully formed. They’re sharpened over years, one overnight shoot, one “let’s take that again from the top,” and one lengthy fingernail at a time. And in a society that tends to value women’s passivity while lauding their accomplishments in hindsight, it’s a distinct pleasure to look back with \u003cem>My Name Is Barbra\u003c/em> and marvel at how the real she came to be.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Barbra+Streisand%27s+memoir+shows+she+wasn%27t+born+a+leading+lady+%E2%80%94+she+made+herself+one&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The season of the celebrity memoir is upon us. In just the past few months \u003ca href=\"https://www.kqed.org/arts/13936729/britney-spears-book-autobiography-the-woman-in-me-gallery-books\">Britney Spears\u003c/a>, Jada Pinkett Smith, Kerry Washington, and more have showered us with bombshells and revelations about their origin stories and private lives. Despite those heavy hitters and the crowded field they occupy, the celebrity memoir I’ve coveted most is that of the singular Ms. Barbra Streisand. Thanks to the opportunity to speak with her for this week’s edition of \u003cem>It’s Been A Minute\u003c/em>, I was able to get my hands on a copy.\u003c/p>\n\u003cp>For me, the iconography of Streisand begins with her nails. More than the deeply parted bouffant of Streisand’s early stardom, or the sleek bob she adopted in the ’90s, or even the smoky chevrons of her signature cat eye, her elegant talons — all natural, by the way — are visual proof of Streisand’s trademark steadfastness.\u003c/p>\n\u003cp>As the old story goes, when Streisand was a fledgling actor, her mother suggested she take typing classes to become a secretary in the New York school system. Streisand grew out her nails in refusal, went all in on show business, and the rest is history — though Streisand now concedes that the ability to type might have made book writing a bit easier.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937733 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/mynameisbarbra_custom-29d0cf4fa23d7c15d82e2915d82cb3dfe1267e51.jpg\" alt=\"\" width=\"200\" height=\"303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/mynameisbarbra_custom-29d0cf4fa23d7c15d82e2915d82cb3dfe1267e51.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/mynameisbarbra_custom-29d0cf4fa23d7c15d82e2915d82cb3dfe1267e51-160x242.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">Streisand’s memoir, \u003cem>My Name Is Barbra\u003c/em>, is nearly 1,000 pages of such gumption, her rhythmic Brooklyn cadence communicated via countless ellipses and more than a few pleasant divergences on her favorite kind of egg roll or a particularly good antique shopping trip. There was the time Streisand jumped in to offer a blocking cue to Robert Redford on the set of \u003cem>The Way We Were\u003c/em>. And of \u003cem>course\u003c/em> she informed the director of the best way to block herself for her Broadway debut at the tender age of 20.\u003c/p>\n\u003cp>Years later, when everyone from her agent to dozens of producers suggested \u003cem>Yentl\u003c/em> was “too Jewish” to connect with mainstream audiences, she pressed on, eventually garnering five Academy Award nominations and one win for the film. The film took over 15 years to make, but ultimately Streisand’s resolve won out. “I became what I wanted to be … I don’t want somebody telling me what I can’t be,” she told me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Across the book’s 59 chapters and many decades, Streisand is careful to uplift the names of those who encouraged, impressed, or even challenged her. Her detractors tend to be aired out or paid dust. She recounts her life as a series of odysseys, and she the ever triumphant victor.\u003c/p>\n\u003cp>Frankly, she’s earned it. Her resumé is living legend: more than 50 albums, a box office titan, and a whole EGOT (Emmy, Grammy, Oscar and Tony for those unfamiliar). She was told to alter her features and change her name, and by not doing so, she redefined Hollywood notions of beauty and relatability. But even I’ve known the diva reputation that has followed her for decades and wanted to go there. “Divas, I don’t think, come from Brooklyn,” Streisand quipped to me, and yet the rumors persist. Sexism and misogyny are to blame, but there’s also a fundamental misread of Streisand’s artistry at play.\u003c/p>\n\u003cfigure id=\"attachment_13937736\" class=\"wp-caption aligncenter\" style=\"max-width: 1808px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937736\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-12.20.32-PM.png\" alt=\"A young woman, casually dressed, talks on a landline telephone in a dressing room, a table scattered with make-up in front of her.\" width=\"1808\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-12.20.32-PM.png 1808w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-12.20.32-PM-800x535.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-12.20.32-PM-1020x683.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-12.20.32-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-12.20.32-PM-768x514.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-12.20.32-PM-1536x1028.png 1536w\" sizes=\"(max-width: 1808px) 100vw, 1808px\">\u003cfigcaption class=\"wp-caption-text\">Barbra Streisand in her dressing room in October 1965. \u003ccite>(Harry Benson/ Daily Express/ Hulton Archive/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Our culture loves to see and persistently pause Streisand as Babs, the consummate prima donna, our forever leading lady. But in doing so, audiences, critics and biographers have failed to acknowledge the shrewd image-maker she has always been — the architect of her persona and performance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In 1984, Streisand became the first woman to win the Golden Globe for Best Director for her work on \u003cem>Yentl\u003c/em>, and still remains one of only three female winners in history. In 1996, her direction on \u003cem>The Mirror Has Two Faces\u003c/em> led Lauren Bacall to the first Academy Award nomination in Bacall’s then five-decade career. By the time all American women had won the right to open a credit card without a husband, Streisand had already founded two production companies. When I asked Streisand about her legacy as a trailblazing businesswoman, she insisted that her goal wasn’t to become a mogul, but simply to serve her ultimate artistic vision. “I just never thought about, really, the business aspect. I just thought about it from the control aspect,” she said.\u003c/p>\n\u003cp>And still, even as a devoted fan, I don’t think I grasped the depth of Streisand’s mastery until I saw a video of her that recently made the rounds on social media. It’s a behind-the-scenes clip of an explosive scene from \u003cem>Yentl\u003c/em>. Streisand is in a pixie-length wig topped with a yarmulke, seamlessly shifting gears between directing a screaming Mandy Patinkin, instructing the camera operator, and playing a key emotional moment in character. We don’t see a diva, we see a genius.\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/d0MngamiROs'\n title='//www.youtube.com/embed/d0MngamiROs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Streisand’s legacy still scatters like a constellation across our cultural landscape; Jane Campion’s Oscar win, Lady Gaga’s screen goddess turn, Beyoncé’s Parkwood Entertainment. But artistic powerhouses like them, like Barbra, don’t spring forth, fully formed. They’re sharpened over years, one overnight shoot, one “let’s take that again from the top,” and one lengthy fingernail at a time. And in a society that tends to value women’s passivity while lauding their accomplishments in hindsight, it’s a distinct pleasure to look back with \u003cem>My Name Is Barbra\u003c/em> and marvel at how the real she came to be.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Barbra+Streisand%27s+memoir+shows+she+wasn%27t+born+a+leading+lady+%E2%80%94+she+made+herself+one&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In David Fincher’s ‘The Killer,’ an Assassin Hides in Plain Sight",
"headTitle": "In David Fincher’s ‘The Killer,’ an Assassin Hides in Plain Sight | KQED",
"content": "\u003cp>It’s a noir staple to open with a bit of narration, but once the nameless hit-man protagonist of David Fincher’s \u003cem>The Killer\u003c/em> starts gabbing, he doesn’t stop.\u003c/p>\n\u003cp>[aside postid='arts_34570']As Fincher’s assassin (Michael Fassbender) awaits his target from a high, unfinished floor in a Paris building that looks out on the home of his mark, his inner monologue runs with a smooth, affectless monotone. His musings are a mix of professional tips (“Anticipate, don’t improvise”), nihilistic existential observations (“Most people refuse to believe that the great beyond is anything more than a cold, infinite void”) and sincere self-reflections (“I’m not exceptional, I’m just apart”).\u003c/p>\n\u003cp>That last line is the most telling one. \u003cem>The Killer\u003c/em> is a terse, minimalist thriller in the cool, cold-hearted tradition of Jean Pierre Melville’s \u003cem>Le Samouraï\u003c/em>. But while its methodical and solitary assassin acts and moves like cunning killers we’ve seen before, he blends into a modern background. He doesn’t wear a trench coat or fedora; he dresses like a German tourist, with a dopey bucket hat. He shops for tools on Amazon. He picks up supplies at Home Depot. His position in Paris is an unused WeWork space.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vs1epO_zLG8\u003c/p>\n\u003cp>In \u003cem>The Killer\u003c/em>, an agent of death is hiding in plain sight. He’s an assassin for our homogeneous, corporate world operating in the same spaces we all do. He eats McDonalds. He drives a white Avis rental van that’s the exact same as a dozen others in the rental car parking lot. Sameness is his superpower.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That also means that his nihilism is ours, too. \u003cem>The Killer\u003c/em>, which begins streaming Friday on Netflix, is a thriller where pointlessness isn’t just lurking in the shadows. It’s everywhere, even in a movie plot that grows increasingly resistant to offering the usual genre satisfactions. Fassbender’s hitman, a background actor supreme, is a lethal manifestation of our soulless environment.\u003c/p>\n\u003cp>[aside postid='arts_13937525']In that opening scene, he boasts of having a batting average (1.000, he brags) ‘better than Ted Williams.’ Yet the job goes badly. In the ensuing turmoil, he races to erase his footsteps but not before a dissatisfied client has his girlfriend (Sophie Charlotte) nearly beaten to death at their clandestine Dominican Republic home.\u003c/p>\n\u003cp>He embarks on a location-hopping mission to eliminate those responsible, an odd twist for an assassin who, at length, preaches disaffection. Much doesn’t quite fit in \u003cem>The Killer\u003c/em>. That he even has a live-in girlfriend — we barely see her and his thoughts never again turn back to her — seems unlikely. A revenge plot also doesn’t quite suit such a dispassionate protagonist. “Forbid empathy,” he says. And the movie, too, can be withholding of anything like emotion. The most distinct thing about Fassbender’s killer is that, like Patrick Bateman bopped to Huey Lewis and the News, he listens exclusively to the Smiths.\u003c/p>\n\u003cp>There’s much pleasure to be found in the unnamed hit man’s proficiency, just as there is in Fincher’s cool finesse. Here, the director — long known for his own meticulous rigor — is working with some regular collaborators, among them screenwriter Andrew Kevin Walker (\u003cem>Se7en\u003c/em>), composers Trent Reznor and Atticus Ross (\u003cem>The Social Network\u003c/em>) and cinematographer Erik Messerschmidt (\u003cem>Mank\u003c/em>). And there’s a kinetic thrill to seeing Fincher back in B-movie territory. (The script is based on a French graphic novel by Alexis “Matz” Nolent.)\u003c/p>\n\u003cp>Especially good is a nighttime sequence set in Florida that begins and ends with a bloodthirsty dog and in between features violent hand-to-hand combat that careens through glass and walls. The scene, like several others in \u003cem>The Killer\u003c/em>, is a filmmaking feat of control. Fassbender, a natural at playing a loner (see \u003cem>Shame\u003c/em>), is captivating throughout because he so possesses the movie’s chief traits of guile and a deadpan sense of humor.\u003c/p>\n\u003cp>[aside postid='arts_13937499']Everything here is tantalizingly close to calculated perfection that it comes almost as a surprise how \u003cem>The Killer\u003c/em> ends up missing its mark. You could call it a feature of the film’s existentialism, but \u003cem>The Killer\u003c/em> increasingly is working, albeit proficiently, in a vacuum. Our hitman travels from place to place — always with fake passports with the names of TV characters like Felix Unger, Lou Grant or Sam Malone — but we don’t get anywhere deeper with him or anything else. Meaningless may be the point in \u003cem>The Killer\u003c/em>, but at a certain point in this stylishly composed but empty vessel, you feel like pleading as another Fincher protagonist once did: What’s in the box?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Killer’ begins streaming on Netflix on Nov. 10.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a noir staple to open with a bit of narration, but once the nameless hit-man protagonist of David Fincher’s \u003cem>The Killer\u003c/em> starts gabbing, he doesn’t stop.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As Fincher’s assassin (Michael Fassbender) awaits his target from a high, unfinished floor in a Paris building that looks out on the home of his mark, his inner monologue runs with a smooth, affectless monotone. His musings are a mix of professional tips (“Anticipate, don’t improvise”), nihilistic existential observations (“Most people refuse to believe that the great beyond is anything more than a cold, infinite void”) and sincere self-reflections (“I’m not exceptional, I’m just apart”).\u003c/p>\n\u003cp>That last line is the most telling one. \u003cem>The Killer\u003c/em> is a terse, minimalist thriller in the cool, cold-hearted tradition of Jean Pierre Melville’s \u003cem>Le Samouraï\u003c/em>. But while its methodical and solitary assassin acts and moves like cunning killers we’ve seen before, he blends into a modern background. He doesn’t wear a trench coat or fedora; he dresses like a German tourist, with a dopey bucket hat. He shops for tools on Amazon. He picks up supplies at Home Depot. His position in Paris is an unused WeWork space.\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/vs1epO_zLG8'\n title='//www.youtube.com/embed/vs1epO_zLG8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In \u003cem>The Killer\u003c/em>, an agent of death is hiding in plain sight. He’s an assassin for our homogeneous, corporate world operating in the same spaces we all do. He eats McDonalds. He drives a white Avis rental van that’s the exact same as a dozen others in the rental car parking lot. Sameness is his superpower.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That also means that his nihilism is ours, too. \u003cem>The Killer\u003c/em>, which begins streaming Friday on Netflix, is a thriller where pointlessness isn’t just lurking in the shadows. It’s everywhere, even in a movie plot that grows increasingly resistant to offering the usual genre satisfactions. Fassbender’s hitman, a background actor supreme, is a lethal manifestation of our soulless environment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In that opening scene, he boasts of having a batting average (1.000, he brags) ‘better than Ted Williams.’ Yet the job goes badly. In the ensuing turmoil, he races to erase his footsteps but not before a dissatisfied client has his girlfriend (Sophie Charlotte) nearly beaten to death at their clandestine Dominican Republic home.\u003c/p>\n\u003cp>He embarks on a location-hopping mission to eliminate those responsible, an odd twist for an assassin who, at length, preaches disaffection. Much doesn’t quite fit in \u003cem>The Killer\u003c/em>. That he even has a live-in girlfriend — we barely see her and his thoughts never again turn back to her — seems unlikely. A revenge plot also doesn’t quite suit such a dispassionate protagonist. “Forbid empathy,” he says. And the movie, too, can be withholding of anything like emotion. The most distinct thing about Fassbender’s killer is that, like Patrick Bateman bopped to Huey Lewis and the News, he listens exclusively to the Smiths.\u003c/p>\n\u003cp>There’s much pleasure to be found in the unnamed hit man’s proficiency, just as there is in Fincher’s cool finesse. Here, the director — long known for his own meticulous rigor — is working with some regular collaborators, among them screenwriter Andrew Kevin Walker (\u003cem>Se7en\u003c/em>), composers Trent Reznor and Atticus Ross (\u003cem>The Social Network\u003c/em>) and cinematographer Erik Messerschmidt (\u003cem>Mank\u003c/em>). And there’s a kinetic thrill to seeing Fincher back in B-movie territory. (The script is based on a French graphic novel by Alexis “Matz” Nolent.)\u003c/p>\n\u003cp>Especially good is a nighttime sequence set in Florida that begins and ends with a bloodthirsty dog and in between features violent hand-to-hand combat that careens through glass and walls. The scene, like several others in \u003cem>The Killer\u003c/em>, is a filmmaking feat of control. Fassbender, a natural at playing a loner (see \u003cem>Shame\u003c/em>), is captivating throughout because he so possesses the movie’s chief traits of guile and a deadpan sense of humor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Everything here is tantalizingly close to calculated perfection that it comes almost as a surprise how \u003cem>The Killer\u003c/em> ends up missing its mark. You could call it a feature of the film’s existentialism, but \u003cem>The Killer\u003c/em> increasingly is working, albeit proficiently, in a vacuum. Our hitman travels from place to place — always with fake passports with the names of TV characters like Felix Unger, Lou Grant or Sam Malone — but we don’t get anywhere deeper with him or anything else. Meaningless may be the point in \u003cem>The Killer\u003c/em>, but at a certain point in this stylishly composed but empty vessel, you feel like pleading as another Fincher protagonist once did: What’s in the box?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Killer’ begins streaming on Netflix on Nov. 10.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Poetry takes the pulse of the times.\u003c/p>\n\u003cp>These times are dark: wars raging; a pandemic that, though it has ebbed, still has everyone confused and afraid; monstrous, hate-filled social media posts spreading like wildfire.\u003c/p>\n\u003cp>Poets have been writing about all of this in real time, posting and publishing their poems, and now they’re gathering them up into books. Here are three of the first poetry collections to register the still-unfolding social and physical fallout of the pandemic and Trump-era politics.\u003c/p>\n\u003ch3>\u003cem>English as a Second Language\u003c/em> by Jaswinder Bolina\u003c/h3>\n\u003cp>[aside postid='arts_13928174']With his third collection, Jaswinder Bolina hits his stride, melding fierce and heartbroken politics with a flair for the surreal, to portray America in the throes of the pandemic — and tarnished daily by bold expressions of racism and anti-immigrant sentiment in the years following Trump’s rise to power. It’s a country where one is accosted constantly by urgent, out-of-context messages in waiting rooms; “in hotel bars that used to be/ so well-regarded when white people wore their finest//laundry and ate snails there”; and splattered on consumer products: “IF YOU’RE NOT ANGRY YOU’RE NOT PAYING/ ATTENTION, hollered a passing tote bag.”\u003c/p>\n\u003cp>These poems are tightly packed, a whimsical fabric interwoven with snippets of soundbites and telling phrases gathered by a highly alert ear. I don’t mean at all that this is found poetry, but that Bolina’s poems are precisely attuned to the stupidness, bigotry, and willful ignorance encoded into American English. There’s always this “second language” beneath the one we hear — it’s what people aren’t saying, or aren’t quite saying but, of course, they’re actually saying it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bolina’s ironic humor feels like the inevitable vehicle for this insight, and these poems are often darkly laugh-out-loud funny. The book is set up to be read either from the front or the back, complete with a reversed table of contents at the end. Read from the front, it’s a book about American racism and immigrant experience. From the back, there’s a baby in the picture, and a pandemic happening: “I go on debating with myself whether it’d be better/ to die of the plague or to die of anything other than/ the plague during a plague.”\u003c/p>\n\u003cp>The cynicism of these poems can sometimes feel like too much. Of course, it’s not really cynicism, it’s reportage. Even “the Abominable News,” as Bolina calls it, is ascribed a sinister kind of sentience: “the Bad News hotwires the buzzer,/ invites itself up with its bouquet of wild/ aneurysms and drooping embolisms.” Bolina’s take on parenthood is equally startling and politicized, an occasion for social commentary. “Poor little guy, alighted/ into what he doesn’t know is America.”\u003c/p>\n\u003ch3>\u003cem>The Kingdom of Surfaces\u003c/em> by Sally Wen Mao\u003c/h3>\n\u003cp>In the meditative and sometimes essayistic poems and sequences of \u003cem>The Kingdom of Surfaces\u003c/em>, Sally Wen Mao visits real and imagined art galleries and other sites of cultural production and display, raging against stereotyped and reductive representations of Chinese women in the arenas of fine art, pop culture, and politics. She visits Wuhan, China, and describes its people with a kind of compassion that has been utterly lacking. The elegant surfaces of these poems belie their internal fury: “It’s a shame/ how people die like their animals.”\u003c/p>\n\u003cp>[aside postid='arts_13933527']In a series of concrete poems shaped like vases, Mao excavates the underbelly of the long history of, and fetishization for, porcelain. Elsewhere she recounts the tyranny of Karens (“A white woman feigns distress,/ calls the cops/ \u003ca href=\"https://www.kqed.org/arts/13900749/central-park-karen-amy-cooper-remains-unrepentant-about-central-park-karen-ing\">On a black man, a bird-/ watcher\u003c/a>“); exposes the dark facts of how silk is made and traded; and, most urgently, revisits her childhood memories of the City of Wuhan (“my birthplace”), and recalls the tides of racism directed at Chinese people during the pandemic years: “security camera footage showed a sixty-five-year-old woman shoved, punched, and kicking in front of 360 West 43rd Street.” A poem about a long-ago sexual assault joins a lamenting chorus that grieves millennia of pillaging: “my feelings were leaves/ that bypassed everyone and buried me.”\u003c/p>\n\u003cp>Mao’s sentences here are more straightforward than in her two previous books, which I loved for their careful eye and quiet roiling. In \u003cem>The Kingdom of Surfaces\u003c/em>, the anger bubbles over, is evident everywhere, and yet these poems have a kind of conversational intimacy that is new to Mao, as if recent events have led her to drop some of the pretense and protection of style. She distills all the ugliness of these years, and the many years before, down to its grim essence: “\u003cem>But beauty is political. But beauty is political. But beauty is political\u003c/em>.”\u003c/p>\n\u003ch3>\u003cem>Pig\u003c/em> by Sam Sax\u003c/h3>\n\u003cp>For Jews, pork is terefah, forbidden food — and, in this book, with a surprisingly light touch, Sam Sax makes of the pig a powerful, all purpose symbol. It becomes an injunction to search oneself, in rather informal and conversational terms, for hedging pathways forward: “do your work with care, as i have tried & failed here.”\u003c/p>\n\u003cp>Though every poem involves a pig somehow (as food, as a slur, as a colloquialism for a police officer, as an \u003cem>Animal Farm\u003c/em> fascist, as a quizzical farm animal, as Wilbur, the pig saved by language), this one-species menagerie doesn’t feel like a conceit. Sometimes the pig is the poem’s stated subject, but more often it waddles in from the side, a verbal tick, a reminder that a shared set of concerns is pulling on these poems. Each poem needs its pig, and each pig is different so each poem is different. In a way, Sax could write this book about anything and he even says as much: “what would i learn if i were to write/ this book on an entirely different subject:/ antique clock repair, the sex lives of astronomers, joy.”\u003c/p>\n\u003cp>[aside postid='arts_13932147']One might think Sax’s chattiness would somehow diminish the poems’ gravity, but Sax again and again says profound things very informally. I feel like I am conversing with a very articulate and clever friend who understands that there are some serious things best said with humor. And he’s got a way with a sentence, offhandedly delivered, tonally precise, able to say what it’s not saying. Sax deploys a kind of serious sarcasm that isn’t irony — it’s a tonal admission that things are too messed up to meet head on, but they also aren’t funny, and can’t be ignored: “Everything that happens on earth happens everywhere.”\u003c/p>\n\u003cp>Language is the salve for, or the weapon against, a disordered world: “the phrases either make love or/ set down a border,” Sax writes in “It’s a Little Anxious to Be a Very Small Animal,” a poem that rather remarkably weaves together Passover traditions, the biography of Karl Marx, genetics, fundraising, and the myth of Daphne to speak out of the uncertainty that so many feel in American for so many different reasons.\u003c/p>\n\u003cp>As a fellow Jew, this book hits hard at this particular moment, though it was of course written well before the current war between Israel and Hamas began. Sax registers the fact that, over the last several years, America has come to feel less safe for Jews, that language, which he sees as the true Jewish homeland, has become less hospitable:\u003c/p>\n\u003cblockquote>\u003cp>inside the skin but\u003c/p>\n\u003cp>just exists in language. let me explain. my people\u003c/p>\n\u003cp>kiss books as a form of prayer. if dropped we\u003c/p>\n\u003cp>lift them to our lips & mouth an honest &\u003c/p>\n\u003cp>uncomplicated apology—\u003c/p>\n\u003cp>\u003cem>nowhere on earth belongs to us\u003c/em>.\u003c/p>\u003c/blockquote>\n\u003cp>The stakes are high — this book is about nothing less than survival, and why to survive, what’s worth living for when so much is so obviously so wrong: “what will be left after we’ve left/ I dare not consider it/ instead dance with me a moment/ late in this late extinction/ that you are reading this/ must be enough.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Craig Morgan Teicher is the author of several books, including ‘The Trembling Answers,’ which won the 2018 Lenore Marshall Poetry Prize from the Academy of American Poets, and the essay collection ‘We Begin in Gladness: How Poets Progress.’\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=3+new+poetry+collections+taking+the+pulse+of+the+times&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Poetry takes the pulse of the times.\u003c/p>\n\u003cp>These times are dark: wars raging; a pandemic that, though it has ebbed, still has everyone confused and afraid; monstrous, hate-filled social media posts spreading like wildfire.\u003c/p>\n\u003cp>Poets have been writing about all of this in real time, posting and publishing their poems, and now they’re gathering them up into books. Here are three of the first poetry collections to register the still-unfolding social and physical fallout of the pandemic and Trump-era politics.\u003c/p>\n\u003ch3>\u003cem>English as a Second Language\u003c/em> by Jaswinder Bolina\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>With his third collection, Jaswinder Bolina hits his stride, melding fierce and heartbroken politics with a flair for the surreal, to portray America in the throes of the pandemic — and tarnished daily by bold expressions of racism and anti-immigrant sentiment in the years following Trump’s rise to power. It’s a country where one is accosted constantly by urgent, out-of-context messages in waiting rooms; “in hotel bars that used to be/ so well-regarded when white people wore their finest//laundry and ate snails there”; and splattered on consumer products: “IF YOU’RE NOT ANGRY YOU’RE NOT PAYING/ ATTENTION, hollered a passing tote bag.”\u003c/p>\n\u003cp>These poems are tightly packed, a whimsical fabric interwoven with snippets of soundbites and telling phrases gathered by a highly alert ear. I don’t mean at all that this is found poetry, but that Bolina’s poems are precisely attuned to the stupidness, bigotry, and willful ignorance encoded into American English. There’s always this “second language” beneath the one we hear — it’s what people aren’t saying, or aren’t quite saying but, of course, they’re actually saying it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bolina’s ironic humor feels like the inevitable vehicle for this insight, and these poems are often darkly laugh-out-loud funny. The book is set up to be read either from the front or the back, complete with a reversed table of contents at the end. Read from the front, it’s a book about American racism and immigrant experience. From the back, there’s a baby in the picture, and a pandemic happening: “I go on debating with myself whether it’d be better/ to die of the plague or to die of anything other than/ the plague during a plague.”\u003c/p>\n\u003cp>The cynicism of these poems can sometimes feel like too much. Of course, it’s not really cynicism, it’s reportage. Even “the Abominable News,” as Bolina calls it, is ascribed a sinister kind of sentience: “the Bad News hotwires the buzzer,/ invites itself up with its bouquet of wild/ aneurysms and drooping embolisms.” Bolina’s take on parenthood is equally startling and politicized, an occasion for social commentary. “Poor little guy, alighted/ into what he doesn’t know is America.”\u003c/p>\n\u003ch3>\u003cem>The Kingdom of Surfaces\u003c/em> by Sally Wen Mao\u003c/h3>\n\u003cp>In the meditative and sometimes essayistic poems and sequences of \u003cem>The Kingdom of Surfaces\u003c/em>, Sally Wen Mao visits real and imagined art galleries and other sites of cultural production and display, raging against stereotyped and reductive representations of Chinese women in the arenas of fine art, pop culture, and politics. She visits Wuhan, China, and describes its people with a kind of compassion that has been utterly lacking. The elegant surfaces of these poems belie their internal fury: “It’s a shame/ how people die like their animals.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a series of concrete poems shaped like vases, Mao excavates the underbelly of the long history of, and fetishization for, porcelain. Elsewhere she recounts the tyranny of Karens (“A white woman feigns distress,/ calls the cops/ \u003ca href=\"https://www.kqed.org/arts/13900749/central-park-karen-amy-cooper-remains-unrepentant-about-central-park-karen-ing\">On a black man, a bird-/ watcher\u003c/a>“); exposes the dark facts of how silk is made and traded; and, most urgently, revisits her childhood memories of the City of Wuhan (“my birthplace”), and recalls the tides of racism directed at Chinese people during the pandemic years: “security camera footage showed a sixty-five-year-old woman shoved, punched, and kicking in front of 360 West 43rd Street.” A poem about a long-ago sexual assault joins a lamenting chorus that grieves millennia of pillaging: “my feelings were leaves/ that bypassed everyone and buried me.”\u003c/p>\n\u003cp>Mao’s sentences here are more straightforward than in her two previous books, which I loved for their careful eye and quiet roiling. In \u003cem>The Kingdom of Surfaces\u003c/em>, the anger bubbles over, is evident everywhere, and yet these poems have a kind of conversational intimacy that is new to Mao, as if recent events have led her to drop some of the pretense and protection of style. She distills all the ugliness of these years, and the many years before, down to its grim essence: “\u003cem>But beauty is political. But beauty is political. But beauty is political\u003c/em>.”\u003c/p>\n\u003ch3>\u003cem>Pig\u003c/em> by Sam Sax\u003c/h3>\n\u003cp>For Jews, pork is terefah, forbidden food — and, in this book, with a surprisingly light touch, Sam Sax makes of the pig a powerful, all purpose symbol. It becomes an injunction to search oneself, in rather informal and conversational terms, for hedging pathways forward: “do your work with care, as i have tried & failed here.”\u003c/p>\n\u003cp>Though every poem involves a pig somehow (as food, as a slur, as a colloquialism for a police officer, as an \u003cem>Animal Farm\u003c/em> fascist, as a quizzical farm animal, as Wilbur, the pig saved by language), this one-species menagerie doesn’t feel like a conceit. Sometimes the pig is the poem’s stated subject, but more often it waddles in from the side, a verbal tick, a reminder that a shared set of concerns is pulling on these poems. Each poem needs its pig, and each pig is different so each poem is different. In a way, Sax could write this book about anything and he even says as much: “what would i learn if i were to write/ this book on an entirely different subject:/ antique clock repair, the sex lives of astronomers, joy.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One might think Sax’s chattiness would somehow diminish the poems’ gravity, but Sax again and again says profound things very informally. I feel like I am conversing with a very articulate and clever friend who understands that there are some serious things best said with humor. And he’s got a way with a sentence, offhandedly delivered, tonally precise, able to say what it’s not saying. Sax deploys a kind of serious sarcasm that isn’t irony — it’s a tonal admission that things are too messed up to meet head on, but they also aren’t funny, and can’t be ignored: “Everything that happens on earth happens everywhere.”\u003c/p>\n\u003cp>Language is the salve for, or the weapon against, a disordered world: “the phrases either make love or/ set down a border,” Sax writes in “It’s a Little Anxious to Be a Very Small Animal,” a poem that rather remarkably weaves together Passover traditions, the biography of Karl Marx, genetics, fundraising, and the myth of Daphne to speak out of the uncertainty that so many feel in American for so many different reasons.\u003c/p>\n\u003cp>As a fellow Jew, this book hits hard at this particular moment, though it was of course written well before the current war between Israel and Hamas began. Sax registers the fact that, over the last several years, America has come to feel less safe for Jews, that language, which he sees as the true Jewish homeland, has become less hospitable:\u003c/p>\n\u003cblockquote>\u003cp>inside the skin but\u003c/p>\n\u003cp>just exists in language. let me explain. my people\u003c/p>\n\u003cp>kiss books as a form of prayer. if dropped we\u003c/p>\n\u003cp>lift them to our lips & mouth an honest &\u003c/p>\n\u003cp>uncomplicated apology—\u003c/p>\n\u003cp>\u003cem>nowhere on earth belongs to us\u003c/em>.\u003c/p>\u003c/blockquote>\n\u003cp>The stakes are high — this book is about nothing less than survival, and why to survive, what’s worth living for when so much is so obviously so wrong: “what will be left after we’ve left/ I dare not consider it/ instead dance with me a moment/ late in this late extinction/ that you are reading this/ must be enough.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Craig Morgan Teicher is the author of several books, including ‘The Trembling Answers,’ which won the 2018 Lenore Marshall Poetry Prize from the Academy of American Poets, and the essay collection ‘We Begin in Gladness: How Poets Progress.’\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=3+new+poetry+collections+taking+the+pulse+of+the+times&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Bass Reeves Deserves Better – ‘Lawmen’ Doesn’t Do Justice to the Black US Marshal",
"headTitle": "Bass Reeves Deserves Better – ‘Lawmen’ Doesn’t Do Justice to the Black US Marshal | KQED",
"content": "\u003cp>I really, \u003cem>really \u003c/em>wanted to love Paramount+’s new series \u003cem>Lawmen: Bass Reeves\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13937572']Not just because it stars magnetic British actor David Oyelowo, in a series he reportedly \u003ca href=\"https://www.vanityfair.com/hollywood/2023/08/lawmen-bass-reeves-first-look-david-oyelowo\">worked more than eight years to get made\u003c/a>. But because, as a Black man who loves Westerns, I have been complaining for decades about the need for someone to make a great TV show or film about Reeves, a real person who was among the first African Americans \u003ca href=\"https://www.washingtonpost.com/entertainment/tv/2023/11/02/bass-reeves-tv-history/\">to serve as a deputy U.S. marshal \u003c/a>west of the Mississippi.\u003c/p>\n\u003cp>Unfortunately, after watching four episodes of \u003cem>Bass Reeves\u003c/em>, I fear this is not the series I have been waiting for. Because it spends so much time trying to be a Modern Western Epic, it forgets about why we watch shows like this in the first place: to see a charismatic, take-charge fighter corral the bad guys and save the day.\u003c/p>\n\u003cp>And his victory feels all the sweeter because, this time, the hero is a Black man.\u003c/p>\n\u003ch3>Once enslaved, Reeves becomes a free hero\u003c/h3>\n\u003cp>Instead, \u003cem>Bass Reeves\u003c/em> kicks off with the lead character in servitude during the Civil War — he’s enslaved by an officer in the Confederate Army. On the battlefield, Reeves kills another Black man on the Confederate side who tries to run away from a brutal battle with Union forces.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Later, when his master cheats at a card game where the prize was to be his freedom, Reeves beats him down and has to flee. (This is a recurring theme which also doesn’t get much explanation — how was Reeves able to develop the habit of beating up white men who violate his strong moral code, given how oppressed most Black people were at the time?)\u003c/p>\n\u003cp>What follows is an over-long preamble setting up Reeves’ legend — we see him living with a Native American family and becoming a failed farmer before actually joining law enforcement in episode three — delaying his appearance as the galvanizing force for justice that made him a western legend.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x3XFsQEoJZI\u003c/p>\n\u003cp>Oyelowo plays Reeves as a taciturn man of few words. Which means a lot of screen time goes to know-it-all white guys around him constantly telling the camera who they are, played by some of the best character actors in the business — like Shea Whigham as the Confederate officer who once owned Reeves, Dennis Quaid as a marshal who enlists his help to catch a fugitive and Donald Sutherland as the judge who eventually hires him to be a marshal, too.\u003c/p>\n\u003cp>[aside postid='arts_13933946']But the central tension in a story about a Black lawman in the Old West should be the fact that the law was so often used as a cudgel to unfairly oppress people who weren’t white. And while we see Reeves advocate for treating non-white criminals with more understanding — one of them even becomes his backup partner — we don’t see him questioning the basic structure of it all, at least in the first four episodes.\u003c/p>\n\u003cp>And the show doesn’t do much to explain why a formerly enslaved man would even agree to enforce a justice system built by white men — though his devout Christianity is often shown to be the source of his strong moral code.\u003c/p>\n\u003ch3>Challenging the cowboy myth with casting\u003c/h3>\n\u003cfigure id=\"attachment_13937600\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937600\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469.jpe\" alt=\"Two cowboys face each other on a wooden porch. One, a white man with a sheriff's badge, points in the face of the other, a Black man.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469-1536x864.jpe 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">David Oyelowo as Bass Reeves and Dennis Quaid as Deputy U.S. Marshal Sherrill Lynn. \u003ccite>(Lauren Smith/ Paramount+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>America loves tales where it is the hero of its own story. It’s one reason why Westerns are often so popular — traditionally, they’ve offered unambiguous stories about the triumph of heroes, the depravity of villains and the virtue of brave (usually white) cowboys and settlers populating the American west.\u003c/p>\n\u003cp>But placing a non-white person, especially a Black person, in the center of that narrative for a TV show or film changes everything. Because suddenly, storytellers must account for slavery, racism, oppression and the way in which many average white people back then simply assumed that Black people were not fully people — a decidedly non-heroic posture for 21\u003csup>st\u003c/sup> century audiences.\u003c/p>\n\u003cp>It’s easier to ignore that reality — which is probably why Hollywood produced two \u003cem>Wyatt Earp\u003c/em> films in the mid 1990s, but has taken decades to tackle the story of a Black western hero who \u003ca href=\"https://www.texasmonthly.com/being-texan/the-resurrection-of-bass-reeves/\">may have inspired the fictional Lone Ranger\u003c/a> character.\u003c/p>\n\u003cp>[aside postid='arts_13936637']Oyelowo wound up teaming with \u003cem>Yellowstone\u003c/em> creator Taylor Sheridan to get \u003cem>Bass Reeves\u003c/em> made, which may explain its strained attempts to build his story into an epic tale and its awkwardness around race. (Despite its success,\u003cem> Yellowstone\u003c/em>‘s focus on validating the virtue of the white Dutton family’s possession of land in the west has always made its attempts to feature Native American characters feel perfunctory.)\u003c/p>\n\u003cp>One trap the series falls into is showing Reeves as a singular superman — he is the only Black character whose skills, smarts and moral code elevate him above the oppression most of his people faced, even after the Civil War ends. He walks through the front door of saloons without question. He challenges white men, punching Quaid’s character in one contentious moment, without fear of being lynched.\u003c/p>\n\u003cp>Watch too much of this and you get the sense that all anyone like Reeves had to do to escape oppression back then was to shoot straight, be honest and beat up anyone who disrespected them. When Sutherland’s character makes him a marshal, they don’t even have a conversation over whether the public will accept a Black man arresting white people — which feels a tad unrealistic.\u003c/p>\n\u003cfigure id=\"attachment_13937601\" class=\"wp-caption aligncenter\" style=\"max-width: 1602px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937601\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07.jpe\" alt=\"A tintype image featuring a Black cowboy wearing a sheriff's badge sitting down and, standing at his side, a Black woman wearing a white dress.\" width=\"1602\" height=\"2136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07.jpe 1602w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07-800x1067.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07-1020x1360.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07-160x213.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07-768x1024.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07-1152x1536.jpe 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07-1536x2048.jpe 1536w\" sizes=\"(max-width: 1602px) 100vw, 1602px\">\u003cfigcaption class=\"wp-caption-text\">Lauren E. Banks as Jennie Reeves and David Oyelewo as Bass Reeves. \u003ccite>(Sarah Coulter/ Paramount+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’ve only seen four of the show’s episodes, so with any luck, some of these issues will be addressed in future installments. And given how white families are centered in all the other series in Sheridan’s \u003cem>Yellowstone\u003c/em>-inspired TV universe, it is a pleasure to see an intact Black family at the heart of this one.\u003c/p>\n\u003cp>But this is just the first season of an anthology series which will go on to profile other lawmen. And its struggle to remain entertaining while also telling Reeves’ complicated story shows there’s still a ways to go before we get true equality in the world of heroes from the Old West.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more,\u003ca href=\"https://www.npr.org\"> visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bass+Reeves+deserves+better+%E2%80%93+%27Lawmen%27+doesn%27t+do+justice+to+the+Black+U.S.+marshal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Lawmen: Bass Reeves’ begins streaming on Nov. 5 on Paramount+.\u003c/em>\u003c/p>\n\n",
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"excerpt": "As a Black critic who loves Westerns, Eric Deggans really wanted to like this show. Instead, he found historical inaccuracies.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I really, \u003cem>really \u003c/em>wanted to love Paramount+’s new series \u003cem>Lawmen: Bass Reeves\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Not just because it stars magnetic British actor David Oyelowo, in a series he reportedly \u003ca href=\"https://www.vanityfair.com/hollywood/2023/08/lawmen-bass-reeves-first-look-david-oyelowo\">worked more than eight years to get made\u003c/a>. But because, as a Black man who loves Westerns, I have been complaining for decades about the need for someone to make a great TV show or film about Reeves, a real person who was among the first African Americans \u003ca href=\"https://www.washingtonpost.com/entertainment/tv/2023/11/02/bass-reeves-tv-history/\">to serve as a deputy U.S. marshal \u003c/a>west of the Mississippi.\u003c/p>\n\u003cp>Unfortunately, after watching four episodes of \u003cem>Bass Reeves\u003c/em>, I fear this is not the series I have been waiting for. Because it spends so much time trying to be a Modern Western Epic, it forgets about why we watch shows like this in the first place: to see a charismatic, take-charge fighter corral the bad guys and save the day.\u003c/p>\n\u003cp>And his victory feels all the sweeter because, this time, the hero is a Black man.\u003c/p>\n\u003ch3>Once enslaved, Reeves becomes a free hero\u003c/h3>\n\u003cp>Instead, \u003cem>Bass Reeves\u003c/em> kicks off with the lead character in servitude during the Civil War — he’s enslaved by an officer in the Confederate Army. On the battlefield, Reeves kills another Black man on the Confederate side who tries to run away from a brutal battle with Union forces.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Later, when his master cheats at a card game where the prize was to be his freedom, Reeves beats him down and has to flee. (This is a recurring theme which also doesn’t get much explanation — how was Reeves able to develop the habit of beating up white men who violate his strong moral code, given how oppressed most Black people were at the time?)\u003c/p>\n\u003cp>What follows is an over-long preamble setting up Reeves’ legend — we see him living with a Native American family and becoming a failed farmer before actually joining law enforcement in episode three — delaying his appearance as the galvanizing force for justice that made him a western legend.\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/x3XFsQEoJZI'\n title='//www.youtube.com/embed/x3XFsQEoJZI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Oyelowo plays Reeves as a taciturn man of few words. Which means a lot of screen time goes to know-it-all white guys around him constantly telling the camera who they are, played by some of the best character actors in the business — like Shea Whigham as the Confederate officer who once owned Reeves, Dennis Quaid as a marshal who enlists his help to catch a fugitive and Donald Sutherland as the judge who eventually hires him to be a marshal, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the central tension in a story about a Black lawman in the Old West should be the fact that the law was so often used as a cudgel to unfairly oppress people who weren’t white. And while we see Reeves advocate for treating non-white criminals with more understanding — one of them even becomes his backup partner — we don’t see him questioning the basic structure of it all, at least in the first four episodes.\u003c/p>\n\u003cp>And the show doesn’t do much to explain why a formerly enslaved man would even agree to enforce a justice system built by white men — though his devout Christianity is often shown to be the source of his strong moral code.\u003c/p>\n\u003ch3>Challenging the cowboy myth with casting\u003c/h3>\n\u003cfigure id=\"attachment_13937600\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937600\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469.jpe\" alt=\"Two cowboys face each other on a wooden porch. One, a white man with a sheriff's badge, points in the face of the other, a Black man.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469-1536x864.jpe 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">David Oyelowo as Bass Reeves and Dennis Quaid as Deputy U.S. Marshal Sherrill Lynn. \u003ccite>(Lauren Smith/ Paramount+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>America loves tales where it is the hero of its own story. It’s one reason why Westerns are often so popular — traditionally, they’ve offered unambiguous stories about the triumph of heroes, the depravity of villains and the virtue of brave (usually white) cowboys and settlers populating the American west.\u003c/p>\n\u003cp>But placing a non-white person, especially a Black person, in the center of that narrative for a TV show or film changes everything. Because suddenly, storytellers must account for slavery, racism, oppression and the way in which many average white people back then simply assumed that Black people were not fully people — a decidedly non-heroic posture for 21\u003csup>st\u003c/sup> century audiences.\u003c/p>\n\u003cp>It’s easier to ignore that reality — which is probably why Hollywood produced two \u003cem>Wyatt Earp\u003c/em> films in the mid 1990s, but has taken decades to tackle the story of a Black western hero who \u003ca href=\"https://www.texasmonthly.com/being-texan/the-resurrection-of-bass-reeves/\">may have inspired the fictional Lone Ranger\u003c/a> character.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Oyelowo wound up teaming with \u003cem>Yellowstone\u003c/em> creator Taylor Sheridan to get \u003cem>Bass Reeves\u003c/em> made, which may explain its strained attempts to build his story into an epic tale and its awkwardness around race. (Despite its success,\u003cem> Yellowstone\u003c/em>‘s focus on validating the virtue of the white Dutton family’s possession of land in the west has always made its attempts to feature Native American characters feel perfunctory.)\u003c/p>\n\u003cp>One trap the series falls into is showing Reeves as a singular superman — he is the only Black character whose skills, smarts and moral code elevate him above the oppression most of his people faced, even after the Civil War ends. He walks through the front door of saloons without question. He challenges white men, punching Quaid’s character in one contentious moment, without fear of being lynched.\u003c/p>\n\u003cp>Watch too much of this and you get the sense that all anyone like Reeves had to do to escape oppression back then was to shoot straight, be honest and beat up anyone who disrespected them. When Sutherland’s character makes him a marshal, they don’t even have a conversation over whether the public will accept a Black man arresting white people — which feels a tad unrealistic.\u003c/p>\n\u003cfigure id=\"attachment_13937601\" class=\"wp-caption aligncenter\" style=\"max-width: 1602px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937601\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07.jpe\" alt=\"A tintype image featuring a Black cowboy wearing a sheriff's badge sitting down and, standing at his side, a Black woman wearing a white dress.\" width=\"1602\" height=\"2136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07.jpe 1602w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07-800x1067.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07-1020x1360.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07-160x213.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07-768x1024.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07-1152x1536.jpe 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07-1536x2048.jpe 1536w\" sizes=\"(max-width: 1602px) 100vw, 1602px\">\u003cfigcaption class=\"wp-caption-text\">Lauren E. Banks as Jennie Reeves and David Oyelewo as Bass Reeves. \u003ccite>(Sarah Coulter/ Paramount+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’ve only seen four of the show’s episodes, so with any luck, some of these issues will be addressed in future installments. And given how white families are centered in all the other series in Sheridan’s \u003cem>Yellowstone\u003c/em>-inspired TV universe, it is a pleasure to see an intact Black family at the heart of this one.\u003c/p>\n\u003cp>But this is just the first season of an anthology series which will go on to profile other lawmen. And its struggle to remain entertaining while also telling Reeves’ complicated story shows there’s still a ways to go before we get true equality in the world of heroes from the Old West.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more,\u003ca href=\"https://www.npr.org\"> visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bass+Reeves+deserves+better+%E2%80%93+%27Lawmen%27+doesn%27t+do+justice+to+the+Black+U.S.+marshal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'All the Light We Cannot See' Is a Heartening and Hopeful Wartime Tale",
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"content": "\u003cp>At a time when so much of what we see on television is devoted to ongoing coverage of war, you may not want to seek out a scripted drama about war — even long-ago World War II, and even a story based on Anthony Doerr’s very popular novel. But \u003ca href=\"https://www.npr.org/2014/05/10/310459898/a-fractured-tale-of-time-war-and-a-really-big-diamond\">\u003cem>All the Light We Cannot See, \u003c/em>\u003c/a>the new four-hour Netflix miniseries, is worthwhile and heartening. In the midst of the darkness and horror of war, the “Light” in the title refers to hope.\u003c/p>\n\u003cp>[aside postid='arts_13936820']\u003cem>All the Light We Cannot See \u003c/em>is told in several different time periods, and from several different perspectives — all leading to a climax in which everything somehow comes together. The main characters are two young children — a French girl named Marie-Laure and a German boy named Werner. He’s a tinkerer who becomes adept at building and repairing all types of radios. She’s blind, and is equally fascinated by the radio because she listens nightly to a shortwave broadcast, aimed at kids, hosted by a mysterious ham operator who calls himself the Professor.\u003c/p>\n\u003cp>In Paris, Marie-Laure is inspired by the Professor’s messages of hope — and back in Germany, so is Werner, who intercepts the same broadcasts from his orphanage before being forced into service by the Nazis.\u003c/p>\n\u003cp>Eventually, the roles of these central characters are taken up by older actors. Werner, as played by Louis Hofmann, is now a teenager trained and dispatched by the Nazis to seek out illegal radio operators. And Marie-Laure, now played by Aria Mia Loberti, flees the city of Paris on foot after the Nazi occupation, suitcases in hand. She’s led by her father Daniel, a museum director played by \u003ca href=\"https://www.npr.org/2007/12/27/17641820/fresh-air-reflects-actor-mark-ruffalo\">Mark Ruffalo\u003c/a>, who’s smuggling out some important museum valuables.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QdE-JvKqpBQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Their journey as refugees eventually takes them to the coastal town of Saint-Malo, where Marie-Laure’s uncle Etienne, played by \u003ca href=\"https://www.npr.org/2012/04/25/151405292/hugh-lauries-house-no-pain-no-gain\">Hugh Laurie\u003c/a>, is a member of the French resistance. In time, Werner, the young Nazi, is sent there to hunt down illegal radio operators. And Marie-Laure, discovering the secret location from which the Professor once made his defiantly hopeful broadcasts, decides to do the same.\u003c/p>\n\u003cp>[aside postid='arts_13933946']This puts both Marie-Laure and her father in harm’s way, hunted by other Nazis in addition to Werner, whose conflicted conscience is one of the strongest elements of \u003cem>All the Light We Cannot See. \u003c/em>Laurie’s character, an agoraphobic veteran of an earlier war, is touching too — but no one is as resonant, or as captivating, as Loberti as Marie-Laure.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Loberti, like the young woman she plays, is legally blind, and this is her first professional acting role — I didn’t become aware of that until after I saw all four hours of this Netflix drama. I’m still blown away by how assuredly, and effectively, this relative newcomer carries the weight of her leading role. Co-creators Shawn Levy and Steven Knight, who directed and wrote this miniseries, didn’t just fill a difficult and demanding part when they cast this impressive unknown. They also discovered a talented new actor.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27All+the+Light+We+Cannot+See%27+is+a+heartening+and+hopeful+wartime+tale&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At a time when so much of what we see on television is devoted to ongoing coverage of war, you may not want to seek out a scripted drama about war — even long-ago World War II, and even a story based on Anthony Doerr’s very popular novel. But \u003ca href=\"https://www.npr.org/2014/05/10/310459898/a-fractured-tale-of-time-war-and-a-really-big-diamond\">\u003cem>All the Light We Cannot See, \u003c/em>\u003c/a>the new four-hour Netflix miniseries, is worthwhile and heartening. In the midst of the darkness and horror of war, the “Light” in the title refers to hope.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>All the Light We Cannot See \u003c/em>is told in several different time periods, and from several different perspectives — all leading to a climax in which everything somehow comes together. The main characters are two young children — a French girl named Marie-Laure and a German boy named Werner. He’s a tinkerer who becomes adept at building and repairing all types of radios. She’s blind, and is equally fascinated by the radio because she listens nightly to a shortwave broadcast, aimed at kids, hosted by a mysterious ham operator who calls himself the Professor.\u003c/p>\n\u003cp>In Paris, Marie-Laure is inspired by the Professor’s messages of hope — and back in Germany, so is Werner, who intercepts the same broadcasts from his orphanage before being forced into service by the Nazis.\u003c/p>\n\u003cp>Eventually, the roles of these central characters are taken up by older actors. Werner, as played by Louis Hofmann, is now a teenager trained and dispatched by the Nazis to seek out illegal radio operators. And Marie-Laure, now played by Aria Mia Loberti, flees the city of Paris on foot after the Nazi occupation, suitcases in hand. She’s led by her father Daniel, a museum director played by \u003ca href=\"https://www.npr.org/2007/12/27/17641820/fresh-air-reflects-actor-mark-ruffalo\">Mark Ruffalo\u003c/a>, who’s smuggling out some important museum valuables.\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/QdE-JvKqpBQ'\n title='//www.youtube.com/embed/QdE-JvKqpBQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Their journey as refugees eventually takes them to the coastal town of Saint-Malo, where Marie-Laure’s uncle Etienne, played by \u003ca href=\"https://www.npr.org/2012/04/25/151405292/hugh-lauries-house-no-pain-no-gain\">Hugh Laurie\u003c/a>, is a member of the French resistance. In time, Werner, the young Nazi, is sent there to hunt down illegal radio operators. And Marie-Laure, discovering the secret location from which the Professor once made his defiantly hopeful broadcasts, decides to do the same.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This puts both Marie-Laure and her father in harm’s way, hunted by other Nazis in addition to Werner, whose conflicted conscience is one of the strongest elements of \u003cem>All the Light We Cannot See. \u003c/em>Laurie’s character, an agoraphobic veteran of an earlier war, is touching too — but no one is as resonant, or as captivating, as Loberti as Marie-Laure.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Loberti, like the young woman she plays, is legally blind, and this is her first professional acting role — I didn’t become aware of that until after I saw all four hours of this Netflix drama. I’m still blown away by how assuredly, and effectively, this relative newcomer carries the weight of her leading role. Co-creators Shawn Levy and Steven Knight, who directed and wrote this miniseries, didn’t just fill a difficult and demanding part when they cast this impressive unknown. They also discovered a talented new actor.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27All+the+Light+We+Cannot+See%27+is+a+heartening+and+hopeful+wartime+tale&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Priest Explains What ‘The Exorcist’ Tells Us About Evil",
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"content": "\u003cp>Not much power has leached from \u003ca href=\"https://www.kqed.org/arts/13830037/william-friedkin-meets-the-devil-and-father-amorth\">\u003cem>The Exorcist\u003c/em>\u003c/a> since its first release in 1973. The horror film’s upcoming 50\u003csup>th\u003c/sup> anniversary has unleashed an inevitable \u003ca href=\"https://www.theexorcistbeliever.movie/\">new version\u003c/a> out in theaters now, as well as countless other tributes, including articles, special screenings and podcasts.\u003c/p>\n\u003cp>Among the latter, the podcast \u003ca href=\"https://rss.com/podcasts/takingonthedevil/\">\u003cem>Taking on the Devil\u003c/em>\u003c/a> is notable for its heady, intellectual interrogation of \u003cem>The Exorcist\u003c/em>‘s theological implications. The host is horror movie scholar \u003ca href=\"https://lsa.umich.edu/sweetland/people/faculty/gmbrand.html\">Gina Brandolino\u003c/a>, who teaches at the University of Michigan. (Full disclosure, I became friends with Brandolino while on a fellowship there.) Her partner in the podcast is \u003ca href=\"https://candler.emory.edu/faculty-profiles/gabrielle-thomas/\">Gabrielle Thomas\u003c/a>, an ordained priest and Emory University professor of early Christianity, who has written about representations of the devil. The two debate questions such as how \u003cem>The Exorcist\u003c/em> helps us think about evil in the world.\u003c/p>\n\u003cp>[aside postid='arts_13904911']The film has had an ongoing impact on pop culture and contemporary Christianity, Thomas told NPR. “I mean, the Church of England I’m ordained in,” she said, “we actually had to go back and look at liturgies for exorcism and deliverance and that kind of thing as a result of that movie.”\u003c/p>\n\u003cp>Long ago in early Christianity, she said, exorcisms were a completely normal ritual that took place before baptism. “Everybody was exorcised because there was an assumption that everyone would be experiencing some kind of demonic oppression, because that’s where the church was at that time,” she said.\u003c/p>\n\u003cp>“How humans have thought about the devil has evolved” over centuries and across faiths, she added. For example, the devil was once usually presented as being blue in the Christian contexts Thomas studies. He was seen as being like the sea, wild and inexplicable. “We understand that there’s chaos in the sea,” she said. “And it’s relatively recently that we ended up with this red thing with horns and the trident that’s slightly comical… There’s been a sort of ‘nice-ification’ of the devil.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YDGw1MTEe9k\u003c/p>\n\u003cp>In this era of grinning purple devil emojis, cute cartoon characters like Hot Stuff and sexy demon antiheros on popular shows like \u003cem>Lucifer \u003c/em>and\u003cem> Good Omens\u003c/em>, the devil in \u003cem>The Exorcist\u003c/em> punches with medieval-era power, Thomas says. This demon, Pazuzu, is not palatable. He is grotesque, primal and scary, regardless of your faith or lack thereof.\u003c/p>\n\u003cp>But ultimately, Thomas said, \u003cem>The Exorcist\u003c/em> is not really concerned with the devil. It’s about the people who observe his possession of a 12-year-old girl named Regan who did nothing worse than play with a Ouija board. Which raises the question: why Regan? And that in turn, Thomas notes, raises an even older question: “Why hasn’t God stepped in and solved all of this? Which is a question that lots of people are asking all the time.”\u003c/p>\n\u003cp>[aside postid='arts_13936524']Why do bad things happen to good people? Thomas says this is not an inquiry for God. This is a question for humans.\u003c/p>\n\u003cp>“What I loved about \u003cem>The Exorcist \u003c/em>is that it gives us a [sense of] how to respond, in the sense of these two priests,” she said, referring to the characters Father Karras and Father Merrin, who perform the film’s dramatic exorcism. “They’re not perfect. They’re completely messed up, just as many people on the street would be. But they respond with love,” she said. “They’re absolutely not the most successful in the way that they approach it … but they’re present in it. So Regan is not alone ultimately.”\u003c/p>\n\u003cp>And right at a moment when the world feels caught in something profoundly, cosmically terrible, maybe \u003cem>The Exorcist \u003c/em>still carries a message.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PIxpPMyGcpU\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>“It doesn’t leave us with a sense of ‘there’s just nothing we can do’,” Thomas said. “It leaves us with a sense of: I can be present. I can be present with the person who’s experiencing evil. I can stand with them. If I’m a priest, I might pray some particular prayers. If I’m not a priest, I might not pray these prayers, but I can be with that person or with that group of people… For me, it was the message of presence.”\u003c/p>\n\u003cp>[aside postid='arts_13830037']The director of \u003cem>The Exorcist\u003c/em> always insisted \u003ca href=\"https://medium.com/@transylvania/the-exorcist-is-not-a-horror-film-50b9ecfa17ea#:~:text=hold%20much%20weight.-,William%20Friedkin%20famously%20said%20that%20he%20didn't%20consider%20The,from%20the%20franchise%20moving%20forward.\">his movie was not a horror movie\u003c/a>. It was a movie about faith. And it reminds us that when we feel helpless and hopeless, there is power in being present.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Edited for the web by Rose Friedman. Produced for the web by Beth Novey.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+priest+explains+what+%27The+Exorcist%27+tells+us+about+evil&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Why do bad things happen to good people? Thomas says this is not an inquiry for God. This is a question for humans.\u003c/p>\n\u003cp>“What I loved about \u003cem>The Exorcist \u003c/em>is that it gives us a [sense of] how to respond, in the sense of these two priests,” she said, referring to the characters Father Karras and Father Merrin, who perform the film’s dramatic exorcism. “They’re not perfect. They’re completely messed up, just as many people on the street would be. But they respond with love,” she said. “They’re absolutely not the most successful in the way that they approach it … but they’re present in it. So Regan is not alone ultimately.”\u003c/p>\n\u003cp>And right at a moment when the world feels caught in something profoundly, cosmically terrible, maybe \u003cem>The Exorcist \u003c/em>still carries a message.\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/PIxpPMyGcpU'\n title='//www.youtube.com/embed/PIxpPMyGcpU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>“It doesn’t leave us with a sense of ‘there’s just nothing we can do’,” Thomas said. “It leaves us with a sense of: I can be present. I can be present with the person who’s experiencing evil. I can stand with them. If I’m a priest, I might pray some particular prayers. If I’m not a priest, I might not pray these prayers, but I can be with that person or with that group of people… For me, it was the message of presence.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The director of \u003cem>The Exorcist\u003c/em> always insisted \u003ca href=\"https://medium.com/@transylvania/the-exorcist-is-not-a-horror-film-50b9ecfa17ea#:~:text=hold%20much%20weight.-,William%20Friedkin%20famously%20said%20that%20he%20didn't%20consider%20The,from%20the%20franchise%20moving%20forward.\">his movie was not a horror movie\u003c/a>. It was a movie about faith. And it reminds us that when we feel helpless and hopeless, there is power in being present.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Edited for the web by Rose Friedman. Produced for the web by Beth Novey.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+priest+explains+what+%27The+Exorcist%27+tells+us+about+evil&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13937151\" class=\"wp-caption aligncenter\" style=\"max-width: 908px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937151\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.38.39-PM.png\" alt=\"An illustrated book cover featuring two people, face-to-face. Their eyes are obscured and a house on fire burns between them.\" width=\"908\" height=\"1394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.38.39-PM.png 908w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.38.39-PM-800x1228.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.38.39-PM-160x246.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.38.39-PM-768x1179.png 768w\" sizes=\"auto, (max-width: 908px) 100vw, 908px\">\u003cfigcaption class=\"wp-caption-text\">‘Diaries of War: Two Visual Accounts from Ukraine and Russia’ by Nora Krug. \u003ccite>(Ten Speed Graphic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When it comes to critical events happening around the globe, sometimes individuals turn to the past — the sequence of occasions and forces that led to a particular moment — in an attempt to understand. And sometimes they aim to look closely and directly at what is unfolding as it occurs.\u003c/p>\n\u003cp>Both of these kinds of careful efforts — the intensive quest for truth by looking to the past, or by attending to the present — are urgently needed in times of crisis.\u003c/p>\n\u003cp>[aside postid='arts_13926136']Self-described visual journalist Nora Krug undertakes the latter, helping her readers look more closely and deliberately into day-to-day experiences of war, with \u003cem>Diaries of War: Two Visual Accounts from Ukraine and Russia\u003c/em>. In the book, Krug, who is German-born and now lives and works in the United States, follows the day-to-day lives of two people in the year after Russia’s 2022 renewed attacks against Ukraine, a full-scale invasion that continues to this day.\u003c/p>\n\u003cp>These war diaries, as Krug terms them, are in fact culled from text exchanges and interviews between the author and illustrator and two real people whose full names have been withheld. They stretch across a whole year, with Krug’s drawings accompanying words taken from each of her subjects, and her own brief introductory remarks opening the book.\u003c/p>\n\u003cfigure id=\"attachment_13937149\" class=\"wp-caption aligncenter\" style=\"max-width: 1294px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937149\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.23.23-PM.png\" alt=\"Paragraphs of hand-written text on yellow lined notepaper are broken up with illustrations of people going about every day business.\" width=\"1294\" height=\"996\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.23.23-PM.png 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.23.23-PM-800x616.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.23.23-PM-1020x785.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.23.23-PM-160x123.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.23.23-PM-768x591.png 768w\" sizes=\"auto, (max-width: 1294px) 100vw, 1294px\">\u003cfigcaption class=\"wp-caption-text\">A page from Nora Krug’s ‘Diaries of War.’ \u003ccite>(Nora Krug/ Ten Speed Graphic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>First there is K., a journalist based in Kyiv. Born in western Russia when it was still part of the Soviet Union, K. moved to Crimea, Ukraine as a young teen. Now she is a journalist often reporting from the frontlines, and raising two young children, ages two and six, with her husband when the book’s coverage begins. Early into the diaries, K. and her husband send their children to Denmark to live with her mother. She is the only one of the pair who is able to visit them, as men in Ukraine between ages of 18 and 60 are restricted in leaving the country so that they can be available to fight the war. K. shuttles back and forth regularly between her family members, reporting, “My sons have become children of war. Their generation is broken.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The second story told in these pages is of D., an artist born in Soviet Russia who has lived in St. Petersburg since he was 20. D. now lives there with his wife and two children, who are nine and ten years old, as well as their dog. He explains early on how he opposes the war, though he is, in his own words, not an activist, and he fears speaking out publicly. When the book opens, he explains how he wants to emigrate with his family, but he is the only one with a passport and visa, which makes things tricky. Over the year, Krug tracks D. as he shuttles from one country in the EU to the next, attempting with lots of difficultly to find a way of having his family join him in the long term. Eventually, he also stays out of Russia in order to avoid being drafted to fight for a war he does not support. As time goes on, his opposition only increases.\u003c/p>\n\u003cp>The stories of K. and D. are told throughout the book on pages that face one another, with each side tinted in a slightly different color background. Krug illustrates each page with simple but often powerful images that emphasize her subjects’ mental or physical states, or underscore both the painful and occasionally beautiful moments they are witness to. Both narrators’ words are scripted in matching yellow blocks, with Krug’s fastidious handwriting connecting the two perspectives.\u003c/p>\n\u003cfigure id=\"attachment_13937150\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937150\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.26.55-PM.png\" alt=\"Paragraphs of hand-written text on yellow lined notepaper are broken up with two illustrations. On the left a woman sick in bed surrounded by the hands of small children. On the right, a male figure leaning over a bridge rail, talking on a cell phone.\" width=\"1300\" height=\"996\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.26.55-PM.png 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.26.55-PM-800x613.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.26.55-PM-1020x781.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.26.55-PM-160x123.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.26.55-PM-768x588.png 768w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">A page from Nora Krug’s ‘Diaries of War.’ \u003ccite>(Nora Krug/ Ten Speed Graphic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite these visual parallels, their experiences are often diametrically opposed. Early on, for example, as D. laments the impact that the war has had on his children; he mentions their disappointment about a Nintendo game they won’t be able to get because the company has halted its operations in Russia. “I’m still in stress,” D. narrates above this anecdote, “but not in panic like I was during the first days.” On the opposing page, K.’s narrative tells a very different story. Krug draws an image of young children sleeping between their parents in bed, as the mother, depicted beside them, is very much in a continuous panic. “I hardly slept last night. The sirens started at 2:30AM, and then I was lying there listening to the explosions.” Though her family is OK for the moment, the immediate danger is clear. People, including colleagues, are being killed daily around her. War ages her prematurely.\u003c/p>\n\u003cp>[aside postid='arts_13924682']In Krug’s previous book, \u003cem>Belonging: A German Reckons with History and Home\u003c/em>, she grappled with her own family history, including her grandfather’s involvement in the Nazi regime as what was termed a “follower” during denazification. In addition to telling their stories through traces of whatever documents she could find, in \u003cem>Belonging \u003c/em>Krug also brought in her own perspective as well as the conversations she had with other family members while finding her way to the reality of what had taken place before her time. “Facts are important and incontestable,” Krug writes here in her introduction. “But personal narratives shed light on different aspects of the truth and are therefore important components of it.”\u003c/p>\n\u003cp>As in \u003cem>Belonging\u003c/em>, with \u003cem>Diaries of War \u003c/em>Krug incorporates her careful research and observation skills alongside attentive and thoughtful design and illustration to tell a multilayered story of the many emotional and psychic ravages of war. K. describes many moments of hopelessness, and her frequent sense of a lost future. Nonetheless, through it all, her thirst for life endures.\u003c/p>\n\u003cp>“I don’t ask myself what I’d be willing to die for,” she writes at one point soon after hearing of her friends who have been captured by Russians. “I simply plan not to die. My goal is to survive, to help other people survive this war and to preserve the Ukranian heritage.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Tahneer Oksman is a writer, teacher, and scholar specializing in memoir as well as graphic novels and comics. She lives in Brooklyn, NY.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Diaries+of+War%27+traces+two+personal+accounts+%E2%80%94+one+from+Ukraine%2C+one+from+Russia&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Self-described visual journalist Nora Krug undertakes the latter, helping her readers look more closely and deliberately into day-to-day experiences of war, with \u003cem>Diaries of War: Two Visual Accounts from Ukraine and Russia\u003c/em>. In the book, Krug, who is German-born and now lives and works in the United States, follows the day-to-day lives of two people in the year after Russia’s 2022 renewed attacks against Ukraine, a full-scale invasion that continues to this day.\u003c/p>\n\u003cp>These war diaries, as Krug terms them, are in fact culled from text exchanges and interviews between the author and illustrator and two real people whose full names have been withheld. They stretch across a whole year, with Krug’s drawings accompanying words taken from each of her subjects, and her own brief introductory remarks opening the book.\u003c/p>\n\u003cfigure id=\"attachment_13937149\" class=\"wp-caption aligncenter\" style=\"max-width: 1294px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937149\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.23.23-PM.png\" alt=\"Paragraphs of hand-written text on yellow lined notepaper are broken up with illustrations of people going about every day business.\" width=\"1294\" height=\"996\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.23.23-PM.png 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.23.23-PM-800x616.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.23.23-PM-1020x785.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.23.23-PM-160x123.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.23.23-PM-768x591.png 768w\" sizes=\"auto, (max-width: 1294px) 100vw, 1294px\">\u003cfigcaption class=\"wp-caption-text\">A page from Nora Krug’s ‘Diaries of War.’ \u003ccite>(Nora Krug/ Ten Speed Graphic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>First there is K., a journalist based in Kyiv. Born in western Russia when it was still part of the Soviet Union, K. moved to Crimea, Ukraine as a young teen. Now she is a journalist often reporting from the frontlines, and raising two young children, ages two and six, with her husband when the book’s coverage begins. Early into the diaries, K. and her husband send their children to Denmark to live with her mother. She is the only one of the pair who is able to visit them, as men in Ukraine between ages of 18 and 60 are restricted in leaving the country so that they can be available to fight the war. K. shuttles back and forth regularly between her family members, reporting, “My sons have become children of war. Their generation is broken.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The second story told in these pages is of D., an artist born in Soviet Russia who has lived in St. Petersburg since he was 20. D. now lives there with his wife and two children, who are nine and ten years old, as well as their dog. He explains early on how he opposes the war, though he is, in his own words, not an activist, and he fears speaking out publicly. When the book opens, he explains how he wants to emigrate with his family, but he is the only one with a passport and visa, which makes things tricky. Over the year, Krug tracks D. as he shuttles from one country in the EU to the next, attempting with lots of difficultly to find a way of having his family join him in the long term. Eventually, he also stays out of Russia in order to avoid being drafted to fight for a war he does not support. As time goes on, his opposition only increases.\u003c/p>\n\u003cp>The stories of K. and D. are told throughout the book on pages that face one another, with each side tinted in a slightly different color background. Krug illustrates each page with simple but often powerful images that emphasize her subjects’ mental or physical states, or underscore both the painful and occasionally beautiful moments they are witness to. Both narrators’ words are scripted in matching yellow blocks, with Krug’s fastidious handwriting connecting the two perspectives.\u003c/p>\n\u003cfigure id=\"attachment_13937150\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937150\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.26.55-PM.png\" alt=\"Paragraphs of hand-written text on yellow lined notepaper are broken up with two illustrations. On the left a woman sick in bed surrounded by the hands of small children. On the right, a male figure leaning over a bridge rail, talking on a cell phone.\" width=\"1300\" height=\"996\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.26.55-PM.png 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.26.55-PM-800x613.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.26.55-PM-1020x781.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.26.55-PM-160x123.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.26.55-PM-768x588.png 768w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">A page from Nora Krug’s ‘Diaries of War.’ \u003ccite>(Nora Krug/ Ten Speed Graphic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite these visual parallels, their experiences are often diametrically opposed. Early on, for example, as D. laments the impact that the war has had on his children; he mentions their disappointment about a Nintendo game they won’t be able to get because the company has halted its operations in Russia. “I’m still in stress,” D. narrates above this anecdote, “but not in panic like I was during the first days.” On the opposing page, K.’s narrative tells a very different story. Krug draws an image of young children sleeping between their parents in bed, as the mother, depicted beside them, is very much in a continuous panic. “I hardly slept last night. The sirens started at 2:30AM, and then I was lying there listening to the explosions.” Though her family is OK for the moment, the immediate danger is clear. People, including colleagues, are being killed daily around her. War ages her prematurely.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In Krug’s previous book, \u003cem>Belonging: A German Reckons with History and Home\u003c/em>, she grappled with her own family history, including her grandfather’s involvement in the Nazi regime as what was termed a “follower” during denazification. In addition to telling their stories through traces of whatever documents she could find, in \u003cem>Belonging \u003c/em>Krug also brought in her own perspective as well as the conversations she had with other family members while finding her way to the reality of what had taken place before her time. “Facts are important and incontestable,” Krug writes here in her introduction. “But personal narratives shed light on different aspects of the truth and are therefore important components of it.”\u003c/p>\n\u003cp>As in \u003cem>Belonging\u003c/em>, with \u003cem>Diaries of War \u003c/em>Krug incorporates her careful research and observation skills alongside attentive and thoughtful design and illustration to tell a multilayered story of the many emotional and psychic ravages of war. K. describes many moments of hopelessness, and her frequent sense of a lost future. Nonetheless, through it all, her thirst for life endures.\u003c/p>\n\u003cp>“I don’t ask myself what I’d be willing to die for,” she writes at one point soon after hearing of her friends who have been captured by Russians. “I simply plan not to die. My goal is to survive, to help other people survive this war and to preserve the Ukranian heritage.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Tahneer Oksman is a writer, teacher, and scholar specializing in memoir as well as graphic novels and comics. She lives in Brooklyn, NY.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Diaries+of+War%27+traces+two+personal+accounts+%E2%80%94+one+from+Ukraine%2C+one+from+Russia&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Even as someone whose job is to complain about the state of contemporary filmmaking, I’ve never really bought into the idea that “They don’t make ’em like they used to” — something moviegoers have been saying since the silent era.\u003c/p>\n\u003cp>Still, I understand why some critics have been waxing so nostalgic in their praise of \u003cem>The Holdovers\u003c/em>. From the moment its scratched-up retro-style studio logo appears, \u003ca href=\"https://www.npr.org/2013/12/02/248185910/director-alexander-payne-on-mining-every-film-for-comic-potential\">Alexander Payne\u003c/a>‘s new film offers itself up as a throwback to a time when thoughtful, character-driven comedies for adults were more of a staple than they are now. The movie isn’t just set in 1970; it wants to look as though it were \u003cem>made\u003c/em> in 1970.\u003c/p>\n\u003cp>It’s also a reunion for Payne and actor \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1674650\">Paul Giamatti\u003c/a>, nearly 20 years after their superior wine-country comedy \u003ca href=\"https://www.npr.org/2004/10/15/4111467/sideways-paynes-latest-comic-antidote\">\u003cem>Sideways\u003c/em>\u003c/a>. In \u003cem>The Holdovers\u003c/em>, Giamatti again plays a hard-drinking, sharp-tongued curmudgeon with tragicomic verve. This time he’s Paul Hunham, a teacher of ancient history at a prestigious New England boarding school called Barton Academy.\u003c/p>\n\u003cp>Paul believes in showing tough love to his students, whom he openly refers to as “degenerates” and “reprobates.” On the last day of school before winter break, he hands the boys back their exams, which nearly all of them failed.\u003c/p>\n\u003cp>The only student to get a decent grade is Angus Tully, played by Dominic Sessa. He’s a sharp, smart kid with a rebellious streak, fueled in part by family problems back home. When he learns that his mom and new stepdad have decided to spend the holidays honeymooning in the Caribbean, Angus is forced to stay at Barton for two weeks under Paul’s supervision.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There are four other young holdovers as well, but David Hemingson’s script conveniently gets them out of the way. Joining Paul and Angus is the school cafeteria manager, Mary Lamb, wonderfully played by \u003ca href=\"https://www.npr.org/2019/10/03/766927018/actress-davine-joy-randolph-on-her-role-in-dolemite-is-my-name\">Da’Vine Joy Randolph\u003c/a> from \u003ca href=\"https://www.npr.org/2019/10/29/774348252/dolemite-is-my-name\">\u003cem>Dolemite Is My Name\u003c/em>\u003c/a>. It’s Mary’s first Christmas since her son, a Barton grad, died serving in the Vietnam War.\u003c/p>\n\u003cp>A prickly teacher, an angry student and a grieving cook cooped up together for two frigid weeks without central heating sounds like a recipe for horror-movie disaster: \u003cem>The Catcher in the Rye \u003c/em>meets \u003cem>The Shining\u003c/em>. Thankfully, no one gets axed to death in \u003cem>The Holdovers\u003c/em>, though someone does end up in the hospital after a minor accident.\u003c/p>\n\u003cp>https://youtube.com/watch?v=AhKLpJmHhIg\u003c/p>\n\u003cp>Soon the three find better reasons to leave campus, attending a Christmas Eve party and taking an unexpected field trip to Boston. Road trips have been something of a Payne specialty in movies like \u003cem>Sideways\u003c/em> and \u003ca href=\"https://www.npr.org/2013/11/15/245395877/across-nebraska-on-a-journey-that-goes-beyond-the-trip\">\u003cem>Nebraska\u003c/em>\u003c/a>, a chance for rough-edged characters to travel together and bond over each other’s losses and disappointments.\u003c/p>\n\u003cp>That’s a lovely idea, and \u003cem>The Holdovers\u003c/em> sometimes lives up to it. Some of the best scenes find Paul and Mary watching TV, drinking whisky and joshing with each other well into the wee hours. These moments have a lived-in casual-hangout quality that’s missing elsewhere.\u003c/p>\n\u003cp>In their many arguments, Paul and Angus tend to spell out the obvious — how they’re feeling, why they’re mad at each other and all the awful things they’ve been through. Giamatti is a skilled enough actor to make this seem like part of Paul’s overbearing nature. But Sessa, an appealing newcomer, doesn’t fare as well; too often he’s made to talk about his teenage angst rather than embody it.\u003c/p>\n\u003cp>And then there’s Mary, whose name can’t help but smack of cheap symbolism given that she’s mourning a child at Christmastime. The script doesn’t know what to do with Mary besides sanctify her, turning her grief into a prop. That’s a shame, since Mary is easily the most interesting character here, which is due entirely to the terrific comic timing and deep emotion that Randolph brings to an underwritten role.\u003c/p>\n\u003cp>Watching Paul, Angus and Mary, we’re meant to reflect on the social turmoil of the past and how it dovetails with the present. Angus’ family drama touches on depression and mental illness. The death of Mary’s son in Vietnam raises issues like racism and classism. But these points are glossed over in a movie that skims the surface of its ’70s milieu without fully engaging with it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Payne isn’t really “making ’em like they used to”; beneath its old-school aesthetic, \u003cem>The Holdovers\u003c/em> faces a problem that’s all too familiar in this director’s work: a coyness about his characters and their circumstances that keeps real emotion and holiday spirit at bay.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even as someone whose job is to complain about the state of contemporary filmmaking, I’ve never really bought into the idea that “They don’t make ’em like they used to” — something moviegoers have been saying since the silent era.\u003c/p>\n\u003cp>Still, I understand why some critics have been waxing so nostalgic in their praise of \u003cem>The Holdovers\u003c/em>. From the moment its scratched-up retro-style studio logo appears, \u003ca href=\"https://www.npr.org/2013/12/02/248185910/director-alexander-payne-on-mining-every-film-for-comic-potential\">Alexander Payne\u003c/a>‘s new film offers itself up as a throwback to a time when thoughtful, character-driven comedies for adults were more of a staple than they are now. The movie isn’t just set in 1970; it wants to look as though it were \u003cem>made\u003c/em> in 1970.\u003c/p>\n\u003cp>It’s also a reunion for Payne and actor \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1674650\">Paul Giamatti\u003c/a>, nearly 20 years after their superior wine-country comedy \u003ca href=\"https://www.npr.org/2004/10/15/4111467/sideways-paynes-latest-comic-antidote\">\u003cem>Sideways\u003c/em>\u003c/a>. In \u003cem>The Holdovers\u003c/em>, Giamatti again plays a hard-drinking, sharp-tongued curmudgeon with tragicomic verve. This time he’s Paul Hunham, a teacher of ancient history at a prestigious New England boarding school called Barton Academy.\u003c/p>\n\u003cp>Paul believes in showing tough love to his students, whom he openly refers to as “degenerates” and “reprobates.” On the last day of school before winter break, he hands the boys back their exams, which nearly all of them failed.\u003c/p>\n\u003cp>The only student to get a decent grade is Angus Tully, played by Dominic Sessa. He’s a sharp, smart kid with a rebellious streak, fueled in part by family problems back home. When he learns that his mom and new stepdad have decided to spend the holidays honeymooning in the Caribbean, Angus is forced to stay at Barton for two weeks under Paul’s supervision.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are four other young holdovers as well, but David Hemingson’s script conveniently gets them out of the way. Joining Paul and Angus is the school cafeteria manager, Mary Lamb, wonderfully played by \u003ca href=\"https://www.npr.org/2019/10/03/766927018/actress-davine-joy-randolph-on-her-role-in-dolemite-is-my-name\">Da’Vine Joy Randolph\u003c/a> from \u003ca href=\"https://www.npr.org/2019/10/29/774348252/dolemite-is-my-name\">\u003cem>Dolemite Is My Name\u003c/em>\u003c/a>. It’s Mary’s first Christmas since her son, a Barton grad, died serving in the Vietnam War.\u003c/p>\n\u003cp>A prickly teacher, an angry student and a grieving cook cooped up together for two frigid weeks without central heating sounds like a recipe for horror-movie disaster: \u003cem>The Catcher in the Rye \u003c/em>meets \u003cem>The Shining\u003c/em>. Thankfully, no one gets axed to death in \u003cem>The Holdovers\u003c/em>, though someone does end up in the hospital after a minor accident.\u003c/p>\n\u003cp>https://youtube.com/watch?v=AhKLpJmHhIg\u003c/p>\n\u003cp>Soon the three find better reasons to leave campus, attending a Christmas Eve party and taking an unexpected field trip to Boston. Road trips have been something of a Payne specialty in movies like \u003cem>Sideways\u003c/em> and \u003ca href=\"https://www.npr.org/2013/11/15/245395877/across-nebraska-on-a-journey-that-goes-beyond-the-trip\">\u003cem>Nebraska\u003c/em>\u003c/a>, a chance for rough-edged characters to travel together and bond over each other’s losses and disappointments.\u003c/p>\n\u003cp>That’s a lovely idea, and \u003cem>The Holdovers\u003c/em> sometimes lives up to it. Some of the best scenes find Paul and Mary watching TV, drinking whisky and joshing with each other well into the wee hours. These moments have a lived-in casual-hangout quality that’s missing elsewhere.\u003c/p>\n\u003cp>In their many arguments, Paul and Angus tend to spell out the obvious — how they’re feeling, why they’re mad at each other and all the awful things they’ve been through. Giamatti is a skilled enough actor to make this seem like part of Paul’s overbearing nature. But Sessa, an appealing newcomer, doesn’t fare as well; too often he’s made to talk about his teenage angst rather than embody it.\u003c/p>\n\u003cp>And then there’s Mary, whose name can’t help but smack of cheap symbolism given that she’s mourning a child at Christmastime. The script doesn’t know what to do with Mary besides sanctify her, turning her grief into a prop. That’s a shame, since Mary is easily the most interesting character here, which is due entirely to the terrific comic timing and deep emotion that Randolph brings to an underwritten role.\u003c/p>\n\u003cp>Watching Paul, Angus and Mary, we’re meant to reflect on the social turmoil of the past and how it dovetails with the present. Angus’ family drama touches on depression and mental illness. The death of Mary’s son in Vietnam raises issues like racism and classism. But these points are glossed over in a movie that skims the surface of its ’70s milieu without fully engaging with it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Payne isn’t really “making ’em like they used to”; beneath its old-school aesthetic, \u003cem>The Holdovers\u003c/em> faces a problem that’s all too familiar in this director’s work: a coyness about his characters and their circumstances that keeps real emotion and holiday spirit at bay.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Alexander+Payne+keeps+real+emotion+at+bay+in+the+coyly+comic+%27Holdovers%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A \u003ca href=\"https://www.scholarsandstorytellers.com/css-teens-and-screens-2023\">new study\u003c/a> about young Americans’ entertainment consumption habits shows that Generation Z is far more interested in seeing stories of platonic relationships on screen than those featuring sex and romance.\u003c/p>\n\u003cp>[aside postid='pop_107900']More than half of the 1,500 young people who participated in the University of California Los Angeles’s (UCLA) Center for Scholars and Storytellers “Teens and Screens” survey said they want to see more content focused on friendships. Nearly 40% said they particularly want to see more non-romantic relationships or asexual characters on screen. The majority of respondents said they felt that romance in media is overused. (The study in its entirety included youth aged 10-24, but questions relating specifically to sex and romance on screen were only asked of a subset aged 13-24.)\u003c/p>\n\u003cp>The research team is labeling this trend as “nomance.”\u003c/p>\n\u003cp>“When there’s media with too much sex, me and my friends often feel uncomfortable,” said survey respondent Ana, age 16, in a video released by UCLA to accompany the study.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aivCR4dex9s\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“My friends are I maybe awkwardly bear through it,” said 20-year-old respondent Joseph.\u003c/p>\n\u003cp>The research team said Gen Z’s chaste entertainment preferences stem from a craving for feel-good character relationships following the isolation of the pandemic years.\u003c/p>\n\u003cp>“Young people are feeling a lack of close friendships, a separation from their community, and a sense that their digital citizen identity has superseded their sense of belonging in the real world,” wrote researchers Stephanie Rivas-Lara and Hiral Kotecha in \u003ca href=\"https://www.scholarsandstorytellers.com/blog/a-note-from-the-gen-z-authors-of-the-2023-teens-and-screens-report\">an essay\u003c/a> expanding on the survey results.\u003c/p>\n\u003cp>[aside postid='pop_78777']“The core essence of kids and teens will always be the same — from camaraderie to curiosity and a sense of adventure — and it appears that somewhere along the way, this may have been forgotten in storytelling.”\u003c/p>\n\u003cp>The UCLA research team did not ask the surveyed youth if they sought out sexual or pornographic content outside the realm of TV, movies and social media.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s not that young people aren’t interested in TV, movies and other media with sexual content, it’s that they want to see more and different types of relationships,” said UCLA Center for Scholars and Storytellers founder Yalda Uhls. “We did not specifically ask about porn so I couldn’t say for sure. But one theory could be that the prevalence of porn could be a reason why they feel they want to see less sexual content in traditional media.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Looking+for+%27nomance%27%3A+Study+finds+teens+want+less+sex+in+their+TV+and+movies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A \u003ca href=\"https://www.scholarsandstorytellers.com/css-teens-and-screens-2023\">new study\u003c/a> about young Americans’ entertainment consumption habits shows that Generation Z is far more interested in seeing stories of platonic relationships on screen than those featuring sex and romance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>More than half of the 1,500 young people who participated in the University of California Los Angeles’s (UCLA) Center for Scholars and Storytellers “Teens and Screens” survey said they want to see more content focused on friendships. Nearly 40% said they particularly want to see more non-romantic relationships or asexual characters on screen. The majority of respondents said they felt that romance in media is overused. (The study in its entirety included youth aged 10-24, but questions relating specifically to sex and romance on screen were only asked of a subset aged 13-24.)\u003c/p>\n\u003cp>The research team is labeling this trend as “nomance.”\u003c/p>\n\u003cp>“When there’s media with too much sex, me and my friends often feel uncomfortable,” said survey respondent Ana, age 16, in a video released by UCLA to accompany the study.\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/aivCR4dex9s'\n title='//www.youtube.com/embed/aivCR4dex9s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My friends are I maybe awkwardly bear through it,” said 20-year-old respondent Joseph.\u003c/p>\n\u003cp>The research team said Gen Z’s chaste entertainment preferences stem from a craving for feel-good character relationships following the isolation of the pandemic years.\u003c/p>\n\u003cp>“Young people are feeling a lack of close friendships, a separation from their community, and a sense that their digital citizen identity has superseded their sense of belonging in the real world,” wrote researchers Stephanie Rivas-Lara and Hiral Kotecha in \u003ca href=\"https://www.scholarsandstorytellers.com/blog/a-note-from-the-gen-z-authors-of-the-2023-teens-and-screens-report\">an essay\u003c/a> expanding on the survey results.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The core essence of kids and teens will always be the same — from camaraderie to curiosity and a sense of adventure — and it appears that somewhere along the way, this may have been forgotten in storytelling.”\u003c/p>\n\u003cp>The UCLA research team did not ask the surveyed youth if they sought out sexual or pornographic content outside the realm of TV, movies and social media.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s not that young people aren’t interested in TV, movies and other media with sexual content, it’s that they want to see more and different types of relationships,” said UCLA Center for Scholars and Storytellers founder Yalda Uhls. “We did not specifically ask about porn so I couldn’t say for sure. But one theory could be that the prevalence of porn could be a reason why they feel they want to see less sexual content in traditional media.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Looking+for+%27nomance%27%3A+Study+finds+teens+want+less+sex+in+their+TV+and+movies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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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": "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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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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