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"content": "\u003cp>The days are getting longer and, for many, summer vacations are on the horizon. That means more time to settle in with a good book. What book would you recommend most for a long summer afternoon? \u003ca href=\"http://www.kqed.org/epArchive/R201406031000?pid=RD19\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://www.kqed.org/epArchive/R201406031000?pid=RD19\" target=\"_self\" title=\"What's on Your Summer Reading List?\" rel=\"noopener\">Forum Books\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The days are getting longer and, for many, summer vacations are on the horizon. That means more time to settle in with a good book. What book would you recommend most for a long summer afternoon? \u003ca href=\"http://www.kqed.org/epArchive/R201406031000?pid=RD19\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://www.kqed.org/epArchive/R201406031000?pid=RD19\" target=\"_self\" title=\"What's on Your Summer Reading List?\" rel=\"noopener\">Forum Books\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When we think of summer books, we think of the lightweight fare found at the airport or discovered on the shelves of a vacation rental. Lurid titles with lurid covers — artfully hidden behind unread copies of \u003ci>The New Yorker\u003c/i> — are guiltily consumed like deep fried Twinkies in the summer heat, which is how it is supposed to be. After all, sun, sand and distractions of all sorts surround you.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/summer-arts-guide-2014/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/SummerArtsGuide-300x250-5.png\" alt=\"SummerArtsGuide-300x250-5\" width=\"300\" height=\"250\" class=\"alignright size-full wp-image-10136791\">\u003c/a>\u003c/p>\n\u003cp>But there are plenty of books that will grip your brain \u003cem>and \u003c/em>make your modest investment in Costco sunglass readers well worthwhile. These are books that you can read under the umbrella and brag about over your daiquiri in the evening. The ten books that follow — all published since last summer (including one significant reissue)— will let you hold your reading material high and use that \u003cem>New Yorker\u003c/em> as a cocktail coaster. \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/atkinson-life_after_life.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/atkinson-life_after_life-400x612.jpg\" alt=\"Kate Atkinson, Life After Life\" width=\"400\" height=\"612\" class=\"alignleft size-thumbnail wp-image-10136755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/atkinson-life_after_life-400x612.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/atkinson-life_after_life-196x300.jpg 196w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/atkinson-life_after_life.jpg 445w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\n\u003ch3>\u003cem>Life After Life\u003c/em>\u003c/h3>\n\u003ch5>Kate Atkinson\u003c/h5>\n\u003cp>Kate Atkinson is best known for her brainy, broody Jackson Brodie mysteries, but her latest uses a time-loop motif to explore the life of Ursula Todd, born and re-born shortly before the first World War in a rural English manor house. Blessed and cursed with far more than nine lives, Ursula’s stories explore the stuff of life and offer a variety of visions of the world during two wars.\u003c/p>\n\u003cp>\u003cem>Life After Life\u003c/em> is one of those big books that reads like lightning, thanks to Atkinson’s invisible prose and her supple use of the toolkit of fantastic time-travel fiction. We see characters and scenes play out in entertainingly different permutations. Atkinson, having established that her character is being reborn, is happy to dispatch her in a series of sometimes darkly humorous deaths. It’s packing in the literary prizes already, but you’ll never know you’re reading great literature.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/birmingham-the_most_dangerous_book.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/birmingham-the_most_dangerous_book-400x598.jpg\" alt=\"The Most Dangerous Book\" width=\"400\" height=\"598\" class=\"alignleft size-thumbnail wp-image-10136756\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/birmingham-the_most_dangerous_book-400x598.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/birmingham-the_most_dangerous_book-200x300.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/birmingham-the_most_dangerous_book.jpg 456w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\n\u003ch3>\u003cem>The Most Dangerous Book: The Battle for James Joyce’s Ulysses\u003c/em>\u003c/h3>\n\u003ch5>Ken Birmingham\u003c/h5>\n\u003cp>The very thought is almost unthinkable. When James Joyce’s revolutionary novel \u003cem>Ulysses\u003c/em> was published in 1922, it was routed to the fires of \u003cem>Fahrenheit 451\u003c/em>. The British wanted all copies burned. This wasn’t just censorship, it was literary annihilation. While facts of James Joyce’s life may be well known, the facts of the battle to get his most important book published are not. Kevin Birmingham’s \u003cem>The Most Dangerous Book\u003c/em> may address one story, it speaks to many since.\u003c/p>\n\u003cp>Were it not for the incredible level of research that went into the book, you might think you were reading a novel; this is narrative history at its page-turning best. Birmingham gives readers a nice précis of Joyce’s battle to get the book written and then goes down-and-dirty for the fight to get it read. If you’re reading this list, reading matters to you, books matter to you and you might understand that any book you hold could easily become \u003cem>The Most Dangerous Book\u003c/em>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/dicker-the_truth_about_the_harry_qubert_affair.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/dicker-the_truth_about_the_harry_qubert_affair.jpg\" alt=\"The Truth About the Harry Quebert Affair\" width=\"391\" height=\"602\" class=\"alignleft size-full wp-image-10136757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/dicker-the_truth_about_the_harry_qubert_affair.jpg 391w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/dicker-the_truth_about_the_harry_qubert_affair-194x300.jpg 194w\" sizes=\"(max-width: 391px) 100vw, 391px\">\u003c/a>\n\u003ch3>\u003cem>The Truth About the Harry Quebert Affair\u003c/em>\u003c/h3>\n\u003ch5>Joel Dicker\u003c/h5>\n\u003cp>The winner of three prizes in France, Joel Dicker’s first novel, \u003cem>The Truth About the Harry Quebert Affair,\u003c/em> offers a nice mirror-like effect and an intense, well-crafted mystery, wrapped in literature and writing. Marcus Goldman is a young novelist whose first book was a runaway success (like this one). But his second novel is stubbornly proving to be vaporware, and the publishers are getting antsy. So is he; perhaps he should chill out with his old professor, Harry Quebert. A trip to his mentor’s Somerset mansion is just the ticket, until a body pops up and is traced to a murder from 1975.\u003c/p>\n\u003cp>This is a big book with a small cast, lots of layers with a variety of suspects who have the means, the motive and the opportunity. Goldman wants to make Harry’s story his next acclaimed bestseller. That would be the first novel we’re reading now. Come for the big, literary mystery, and brag about the prizes when you’re done. Vacation time at a Somerset mansion not included.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/hemmings-the_possibilities.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/hemmings-the_possibilities-400x607.jpg\" alt=\"The Possibilities\" width=\"400\" height=\"607\" class=\"alignleft size-thumbnail wp-image-10136758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/hemmings-the_possibilities-400x607.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/hemmings-the_possibilities-197x300.jpg 197w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/hemmings-the_possibilities.jpg 441w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\n\u003ch3>\u003cem>The Possibilities\u003c/em>\u003c/h3>\n\u003ch5>Kaui Hart Hemmings\u003c/h5>\n\u003cp>You’ll not find a better, more bitter source for dark-hearted literary laughter this summer than Kaui Hart Hemmings’ \u003cem>The Possibilities\u003c/em>. Sarah St. John is attempting to return to her job as a local infomercial newscaster in the ski town of Breckenridge, Colorado, three months after her twenty-two year-old son died in an avalanche. It’s not going well. She fast-tracked the stages of grief and now she’s at the one they fail to mention, revelation. She’s finding out quite a bit about her son, most of which she might have preferred not to know.\u003c/p>\n\u003cp>As with her novel \u003cem>The Descendants\u003c/em>, Hemmings has it both ways. She’s as entertaining and insightful as hell, with an emphasis on the fire. Sarah’s father is a charmer, her best friend is both a busybody and a powerhouse, and Sarah is otherwise surrounded by a crowd of opinions and judgments, most of them unflattering. If someone quizzes you about the sweet, summery cover, there’s likely a zinger right there on the page in front of you to shoot back with. All heartbreaks should be this hilarious.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/jacobsen-operation_paperclip.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/jacobsen-operation_paperclip-400x620.jpg\" alt=\"Operation Paperclip\" width=\"400\" height=\"620\" class=\"alignleft size-thumbnail wp-image-10136759\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/jacobsen-operation_paperclip-400x620.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/jacobsen-operation_paperclip-193x300.jpg 193w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/jacobsen-operation_paperclip.jpg 440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\n\u003ch3>\u003cem>Operation Paperclip: The Secret Intelligence Program That Brought Nazi Scientists to America\u003c/em>\u003c/h3>\n\u003ch5>Annie Jacobsen\u003c/h5>\n\u003cp>In the final days of World War II, the race was on for Nazi treasure; not the paintings they stole, but rather the masterminds who created the V2 rocket-bomb and chemical weapons from Sarin to Zyklon-B. Annie Jacobsen’s \u003cem>Operation Paperclip\u003c/em> explores those days at a breathtaking pace with astonishingly exciting scenes and painstakingly re-created details from a variety of records not so easily obtained even now under the Freedom of Information Act.\u003c/p>\n\u003cp>History offers its own version of the toe-tapping World War II thriller here, etching in our brains scenes of the horror and cunning of those we recruited to run our glorious space program. Jacobsen wrangles a huge multi-national cast with ease, and turns a complicated back-story into seriously thrilling reading. Anyone who saw those first steps on the moon, stayed up to watch a rocket launch or built a Revelle model of the Gemini space capsule will find themselves enmeshed in revisionary nostalgia. Plus, the title is imposing enough to fend off any questions about light summer reading.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/joyce-the_dubliners.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/joyce-the_dubliners-400x593.jpg\" alt=\"The Dubliners\" width=\"400\" height=\"593\" class=\"alignleft size-thumbnail wp-image-10136760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/joyce-the_dubliners-400x593.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/joyce-the_dubliners-202x300.jpg 202w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/joyce-the_dubliners.jpg 405w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\n\u003ch3>\u003cem>Dubliners\u003c/em>\u003c/h3>\n\u003ch5>James Joyce\u003c/h5>\n\u003cp>Before he set forth to Change Western Literature As We Know It and got himself in all the hot water associated with \u003cem>Ulysses\u003c/em>, Joyce wrote what is arguably the most important single-author short story collection in the English language, \u003cem>The Dubliners\u003c/em>. All the skill that made \u003cem>Ulysses\u003c/em> so revolutionary went into short, smart stories exploring the inner and outer lives of the people of Dublin. It’s the centenary of this seminal collection, and Penguin Books has given us a gorgeous new trade paperback edition to read at the beach.\u003c/p>\n\u003cp>James Joyce? Beach reading? Just sink in to \u003cem>The Sisters\u003c/em> to see that talent cuts two ways, and allows a brilliant artist to be an engaging and entertaining storyteller, who just happens to evoke psychological insights we’re still trying to sort out 100 years later. As a bonus, you can read the final short story here, \u003cem>The Dead\u003c/em>, and then watch John Huston’s 1987 film adaptation starring Anjelica Huston.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/kiehl-the_psychopath_whisperer.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/kiehl-the_psychopath_whisperer-400x625.jpg\" alt=\"the psychopath whisperer\" width=\"400\" height=\"625\" class=\"alignleft size-thumbnail wp-image-10136761\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/kiehl-the_psychopath_whisperer-400x625.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/kiehl-the_psychopath_whisperer.jpg 439w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\n\u003ch3>\u003cem>The Psychopath Whisperer: The Science of those Without Conscience\u003c/em>\u003c/h3>\n\u003ch5>Kent A. Kiehl\u003c/h5>\n\u003cp>As a grad student about to stake out a career, Kent A. Kiehl, PhD, began “living the dream” (an actual quote from the book) by interviewing psychopathic murderers incarcerated in a maximum-security prison in Canada. \u003cem>The Psychopath Whisperer\u003c/em> is his story and the story of the science he helped to create, the study of psychopathy. It’s a compelling mix of memoir, science-as-science, the business of science, true crime and technological history. Kiehl was so keen to study the brains of the psychopaths he was interviewing that he eventually managed to get Siemens to build a custom, mobile MRI.\u003c/p>\n\u003cp>There’s a stunning chapter that analyzes the assassins who killed two presidents, John Wilkes Booth (Lincoln) and Charles Julius Guiteau (Garfield). Kiehl sets up a variety of threads in this book, tracking the inmates, patients, technology, and colleagues. Separately it’s all fascinating stuff, but he brings it together in a stunning denouement. Groundbreaking science should always be this intense and compelling; or, maybe not.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/levitt_dubner-think_like_a_freak.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/levitt_dubner-think_like_a_freak-400x600.jpg\" alt=\"think like a freak\" width=\"400\" height=\"600\" class=\"alignleft size-thumbnail wp-image-10136762\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/levitt_dubner-think_like_a_freak-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/levitt_dubner-think_like_a_freak-199x300.jpg 199w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/levitt_dubner-think_like_a_freak.jpg 405w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\n\u003ch3>\u003cem>Think Like a Freak\u003c/em>\u003c/h3>\n\u003ch5>Steven D. Levitt and Stephen J. Dubner\u003c/h5>\n\u003cp>Get inside the mind of a freakonomicist (it’s a real word, now!) and learn how to unlearn whatever it is that is holding you behind, jamming you up or raining on your parade. Levitt and Dubner want nothing less than to change not your mind, but the way you \u003cem>use\u003c/em> your mind. Self-help books are always welcome even on the beach, and this is the most upper-crust version you can imagine, or rather not imagine, at least, not until after you’ve read it.\u003c/p>\n\u003cp>Levitt and Dubner are perilously smart writers who know how to get new thoughts inside even the most recalcitrant and entrenched brains. When they spring the great ideas on you, they’ve already smoothed the way with smart prose, and an aphorism for just about every paragraph in the book. They should (and probably will, knowing who butters their bread) publish a limited edition with everything highlighted, to save you the trouble.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/moore-the_serpent_of_venice.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/moore-the_serpent_of_venice-400x604.jpg\" alt=\"the serpent of venice\" width=\"400\" height=\"604\" class=\"alignleft size-thumbnail wp-image-10136763\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/moore-the_serpent_of_venice-400x604.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/moore-the_serpent_of_venice-198x300.jpg 198w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/moore-the_serpent_of_venice.jpg 442w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\n\u003ch3>\u003cem>The Serpent of Venice\u003c/em>\u003c/h3>\n\u003ch5>Christopher Moore\u003c/h5>\n\u003cp>When you’re not laughing, you’ll be giggling, and when not laughing or giggling, you’ll be awed by the sheer audacity of Christopher Moore’s \u003cem>The Serpent of Venice\u003c/em>, which manages to riff off of not one, not two but three, count ’em, three Shakespeare plays, Edgar Allen Poe and more history than a season of PBS.\u003c/p>\n\u003cp>Yes, it’s hilarious, but it is also imaginative and creepy when it needs to be. On the outside it looks like a goofy monster comedy, but on the inside, \u003cem>The Serpent of Venice\u003c/em> comes in a really gorgeous first printing in two colors of ink, like one of those high-falutin’ leather editions. This offers up some insight into the reading experience as well. It’s the best of both worlds, great literature and great fun. \u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/whitehead-the_noble_hustle.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/whitehead-the_noble_hustle.jpg\" alt=\"the noble hustle\" width=\"371\" height=\"552\" class=\"alignleft size-full wp-image-10136764\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/whitehead-the_noble_hustle.jpg 371w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/whitehead-the_noble_hustle-201x300.jpg 201w\" sizes=\"(max-width: 371px) 100vw, 371px\">\u003c/a>\n\u003ch3>\u003cem>The Noble Hustle: Poker, Beef Jerky and Death\u003c/em>\u003c/h3>\n\u003ch5>Colson Whitehead\u003c/h5>\n\u003cp>It’s impossible to resist the premise or the prose. The premise: \u003cem>Grantland\u003c/em> magazine sends Colson Whitehead, a guy who knows a bit about poker from years of friendly for-money games, to the World Series of Poker and asks him to write about it. Read the first paragraph, and you may not know whether it was the green pill or the red pill, but the world’s no longer the world. Colson Whitehead finds a great groove and the rest of the book is rock and roll.\u003c/p>\n\u003cp>Whitehead begins the book as a freshly divorced dad, dotingly dropping off his daughter at school then taking the bus to Atlantic City for a hard day and night of gambling practice. He takes on a poker \u003cem>sensei\u003c/em>, an ass-kicking middle-aged housewife type, and worries about his role as the “Magic Negro,” who will bestow her with a Hollywood blessing. The practice is fascinating even if you’ve never watched or rarely played poker. Whitehead’s writing is compacted and engagingly entertaining. \u003cem>The Noble Hustle\u003c/em> lives up to its title, covering poker, beef jerky and death in some depth. Like summer, you’ll miss it when it’s gone, but Whitehead has an extensive back catalogue to mine.\u003c/p>\u003c/div>\n\u003cp>This list just skims the surface of summer reading that is great literature. Even the frothiest romance, the slickest mystery, the elf-filled fantasy, the girly apocalypse, the celebrity schmooze or the latest how-to-build-an-igloo-on-the-beach book offer something that no television show, radio program, or 3D, 2D, 1D movie can match. That would be reading, that particular experience where you look at the page and turn the words into worlds, where you are in a very real sense the artist and not just the audience. Who needs to brag, really? Just enjoy!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When we think of summer books, we think of the lightweight fare found at the airport or discovered on the shelves of a vacation rental. Lurid titles with lurid covers — artfully hidden behind unread copies of \u003ci>The New Yorker\u003c/i> — are guiltily consumed like deep fried Twinkies in the summer heat, which is how it is supposed to be. After all, sun, sand and distractions of all sorts surround you.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/summer-arts-guide-2014/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/SummerArtsGuide-300x250-5.png\" alt=\"SummerArtsGuide-300x250-5\" width=\"300\" height=\"250\" class=\"alignright size-full wp-image-10136791\">\u003c/a>\u003c/p>\n\u003cp>But there are plenty of books that will grip your brain \u003cem>and \u003c/em>make your modest investment in Costco sunglass readers well worthwhile. These are books that you can read under the umbrella and brag about over your daiquiri in the evening. The ten books that follow — all published since last summer (including one significant reissue)— will let you hold your reading material high and use that \u003cem>New Yorker\u003c/em> as a cocktail coaster. \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/atkinson-life_after_life.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/atkinson-life_after_life-400x612.jpg\" alt=\"Kate Atkinson, Life After Life\" width=\"400\" height=\"612\" class=\"alignleft size-thumbnail wp-image-10136755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/atkinson-life_after_life-400x612.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/atkinson-life_after_life-196x300.jpg 196w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/atkinson-life_after_life.jpg 445w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\n\u003ch3>\u003cem>Life After Life\u003c/em>\u003c/h3>\n\u003ch5>Kate Atkinson\u003c/h5>\n\u003cp>Kate Atkinson is best known for her brainy, broody Jackson Brodie mysteries, but her latest uses a time-loop motif to explore the life of Ursula Todd, born and re-born shortly before the first World War in a rural English manor house. Blessed and cursed with far more than nine lives, Ursula’s stories explore the stuff of life and offer a variety of visions of the world during two wars.\u003c/p>\n\u003cp>\u003cem>Life After Life\u003c/em> is one of those big books that reads like lightning, thanks to Atkinson’s invisible prose and her supple use of the toolkit of fantastic time-travel fiction. We see characters and scenes play out in entertainingly different permutations. Atkinson, having established that her character is being reborn, is happy to dispatch her in a series of sometimes darkly humorous deaths. It’s packing in the literary prizes already, but you’ll never know you’re reading great literature.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/birmingham-the_most_dangerous_book.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/birmingham-the_most_dangerous_book-400x598.jpg\" alt=\"The Most Dangerous Book\" width=\"400\" height=\"598\" class=\"alignleft size-thumbnail wp-image-10136756\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/birmingham-the_most_dangerous_book-400x598.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/birmingham-the_most_dangerous_book-200x300.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/birmingham-the_most_dangerous_book.jpg 456w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\n\u003ch3>\u003cem>The Most Dangerous Book: The Battle for James Joyce’s Ulysses\u003c/em>\u003c/h3>\n\u003ch5>Ken Birmingham\u003c/h5>\n\u003cp>The very thought is almost unthinkable. When James Joyce’s revolutionary novel \u003cem>Ulysses\u003c/em> was published in 1922, it was routed to the fires of \u003cem>Fahrenheit 451\u003c/em>. The British wanted all copies burned. This wasn’t just censorship, it was literary annihilation. While facts of James Joyce’s life may be well known, the facts of the battle to get his most important book published are not. Kevin Birmingham’s \u003cem>The Most Dangerous Book\u003c/em> may address one story, it speaks to many since.\u003c/p>\n\u003cp>Were it not for the incredible level of research that went into the book, you might think you were reading a novel; this is narrative history at its page-turning best. Birmingham gives readers a nice précis of Joyce’s battle to get the book written and then goes down-and-dirty for the fight to get it read. If you’re reading this list, reading matters to you, books matter to you and you might understand that any book you hold could easily become \u003cem>The Most Dangerous Book\u003c/em>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/dicker-the_truth_about_the_harry_qubert_affair.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/dicker-the_truth_about_the_harry_qubert_affair.jpg\" alt=\"The Truth About the Harry Quebert Affair\" width=\"391\" height=\"602\" class=\"alignleft size-full wp-image-10136757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/dicker-the_truth_about_the_harry_qubert_affair.jpg 391w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/dicker-the_truth_about_the_harry_qubert_affair-194x300.jpg 194w\" sizes=\"(max-width: 391px) 100vw, 391px\">\u003c/a>\n\u003ch3>\u003cem>The Truth About the Harry Quebert Affair\u003c/em>\u003c/h3>\n\u003ch5>Joel Dicker\u003c/h5>\n\u003cp>The winner of three prizes in France, Joel Dicker’s first novel, \u003cem>The Truth About the Harry Quebert Affair,\u003c/em> offers a nice mirror-like effect and an intense, well-crafted mystery, wrapped in literature and writing. Marcus Goldman is a young novelist whose first book was a runaway success (like this one). But his second novel is stubbornly proving to be vaporware, and the publishers are getting antsy. So is he; perhaps he should chill out with his old professor, Harry Quebert. A trip to his mentor’s Somerset mansion is just the ticket, until a body pops up and is traced to a murder from 1975.\u003c/p>\n\u003cp>This is a big book with a small cast, lots of layers with a variety of suspects who have the means, the motive and the opportunity. Goldman wants to make Harry’s story his next acclaimed bestseller. That would be the first novel we’re reading now. Come for the big, literary mystery, and brag about the prizes when you’re done. Vacation time at a Somerset mansion not included.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/hemmings-the_possibilities.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/hemmings-the_possibilities-400x607.jpg\" alt=\"The Possibilities\" width=\"400\" height=\"607\" class=\"alignleft size-thumbnail wp-image-10136758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/hemmings-the_possibilities-400x607.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/hemmings-the_possibilities-197x300.jpg 197w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/hemmings-the_possibilities.jpg 441w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\n\u003ch3>\u003cem>The Possibilities\u003c/em>\u003c/h3>\n\u003ch5>Kaui Hart Hemmings\u003c/h5>\n\u003cp>You’ll not find a better, more bitter source for dark-hearted literary laughter this summer than Kaui Hart Hemmings’ \u003cem>The Possibilities\u003c/em>. Sarah St. John is attempting to return to her job as a local infomercial newscaster in the ski town of Breckenridge, Colorado, three months after her twenty-two year-old son died in an avalanche. It’s not going well. She fast-tracked the stages of grief and now she’s at the one they fail to mention, revelation. She’s finding out quite a bit about her son, most of which she might have preferred not to know.\u003c/p>\n\u003cp>As with her novel \u003cem>The Descendants\u003c/em>, Hemmings has it both ways. She’s as entertaining and insightful as hell, with an emphasis on the fire. Sarah’s father is a charmer, her best friend is both a busybody and a powerhouse, and Sarah is otherwise surrounded by a crowd of opinions and judgments, most of them unflattering. If someone quizzes you about the sweet, summery cover, there’s likely a zinger right there on the page in front of you to shoot back with. All heartbreaks should be this hilarious.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/jacobsen-operation_paperclip.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/jacobsen-operation_paperclip-400x620.jpg\" alt=\"Operation Paperclip\" width=\"400\" height=\"620\" class=\"alignleft size-thumbnail wp-image-10136759\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/jacobsen-operation_paperclip-400x620.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/jacobsen-operation_paperclip-193x300.jpg 193w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/jacobsen-operation_paperclip.jpg 440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\n\u003ch3>\u003cem>Operation Paperclip: The Secret Intelligence Program That Brought Nazi Scientists to America\u003c/em>\u003c/h3>\n\u003ch5>Annie Jacobsen\u003c/h5>\n\u003cp>In the final days of World War II, the race was on for Nazi treasure; not the paintings they stole, but rather the masterminds who created the V2 rocket-bomb and chemical weapons from Sarin to Zyklon-B. Annie Jacobsen’s \u003cem>Operation Paperclip\u003c/em> explores those days at a breathtaking pace with astonishingly exciting scenes and painstakingly re-created details from a variety of records not so easily obtained even now under the Freedom of Information Act.\u003c/p>\n\u003cp>History offers its own version of the toe-tapping World War II thriller here, etching in our brains scenes of the horror and cunning of those we recruited to run our glorious space program. Jacobsen wrangles a huge multi-national cast with ease, and turns a complicated back-story into seriously thrilling reading. Anyone who saw those first steps on the moon, stayed up to watch a rocket launch or built a Revelle model of the Gemini space capsule will find themselves enmeshed in revisionary nostalgia. Plus, the title is imposing enough to fend off any questions about light summer reading.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/joyce-the_dubliners.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/joyce-the_dubliners-400x593.jpg\" alt=\"The Dubliners\" width=\"400\" height=\"593\" class=\"alignleft size-thumbnail wp-image-10136760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/joyce-the_dubliners-400x593.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/joyce-the_dubliners-202x300.jpg 202w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/joyce-the_dubliners.jpg 405w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\n\u003ch3>\u003cem>Dubliners\u003c/em>\u003c/h3>\n\u003ch5>James Joyce\u003c/h5>\n\u003cp>Before he set forth to Change Western Literature As We Know It and got himself in all the hot water associated with \u003cem>Ulysses\u003c/em>, Joyce wrote what is arguably the most important single-author short story collection in the English language, \u003cem>The Dubliners\u003c/em>. All the skill that made \u003cem>Ulysses\u003c/em> so revolutionary went into short, smart stories exploring the inner and outer lives of the people of Dublin. It’s the centenary of this seminal collection, and Penguin Books has given us a gorgeous new trade paperback edition to read at the beach.\u003c/p>\n\u003cp>James Joyce? Beach reading? Just sink in to \u003cem>The Sisters\u003c/em> to see that talent cuts two ways, and allows a brilliant artist to be an engaging and entertaining storyteller, who just happens to evoke psychological insights we’re still trying to sort out 100 years later. As a bonus, you can read the final short story here, \u003cem>The Dead\u003c/em>, and then watch John Huston’s 1987 film adaptation starring Anjelica Huston.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/kiehl-the_psychopath_whisperer.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/kiehl-the_psychopath_whisperer-400x625.jpg\" alt=\"the psychopath whisperer\" width=\"400\" height=\"625\" class=\"alignleft size-thumbnail wp-image-10136761\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/kiehl-the_psychopath_whisperer-400x625.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/kiehl-the_psychopath_whisperer.jpg 439w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\n\u003ch3>\u003cem>The Psychopath Whisperer: The Science of those Without Conscience\u003c/em>\u003c/h3>\n\u003ch5>Kent A. Kiehl\u003c/h5>\n\u003cp>As a grad student about to stake out a career, Kent A. Kiehl, PhD, began “living the dream” (an actual quote from the book) by interviewing psychopathic murderers incarcerated in a maximum-security prison in Canada. \u003cem>The Psychopath Whisperer\u003c/em> is his story and the story of the science he helped to create, the study of psychopathy. It’s a compelling mix of memoir, science-as-science, the business of science, true crime and technological history. Kiehl was so keen to study the brains of the psychopaths he was interviewing that he eventually managed to get Siemens to build a custom, mobile MRI.\u003c/p>\n\u003cp>There’s a stunning chapter that analyzes the assassins who killed two presidents, John Wilkes Booth (Lincoln) and Charles Julius Guiteau (Garfield). Kiehl sets up a variety of threads in this book, tracking the inmates, patients, technology, and colleagues. Separately it’s all fascinating stuff, but he brings it together in a stunning denouement. Groundbreaking science should always be this intense and compelling; or, maybe not.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/levitt_dubner-think_like_a_freak.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/levitt_dubner-think_like_a_freak-400x600.jpg\" alt=\"think like a freak\" width=\"400\" height=\"600\" class=\"alignleft size-thumbnail wp-image-10136762\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/levitt_dubner-think_like_a_freak-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/levitt_dubner-think_like_a_freak-199x300.jpg 199w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/levitt_dubner-think_like_a_freak.jpg 405w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\n\u003ch3>\u003cem>Think Like a Freak\u003c/em>\u003c/h3>\n\u003ch5>Steven D. Levitt and Stephen J. Dubner\u003c/h5>\n\u003cp>Get inside the mind of a freakonomicist (it’s a real word, now!) and learn how to unlearn whatever it is that is holding you behind, jamming you up or raining on your parade. Levitt and Dubner want nothing less than to change not your mind, but the way you \u003cem>use\u003c/em> your mind. Self-help books are always welcome even on the beach, and this is the most upper-crust version you can imagine, or rather not imagine, at least, not until after you’ve read it.\u003c/p>\n\u003cp>Levitt and Dubner are perilously smart writers who know how to get new thoughts inside even the most recalcitrant and entrenched brains. When they spring the great ideas on you, they’ve already smoothed the way with smart prose, and an aphorism for just about every paragraph in the book. They should (and probably will, knowing who butters their bread) publish a limited edition with everything highlighted, to save you the trouble.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/moore-the_serpent_of_venice.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/moore-the_serpent_of_venice-400x604.jpg\" alt=\"the serpent of venice\" width=\"400\" height=\"604\" class=\"alignleft size-thumbnail wp-image-10136763\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/moore-the_serpent_of_venice-400x604.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/moore-the_serpent_of_venice-198x300.jpg 198w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/moore-the_serpent_of_venice.jpg 442w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\n\u003ch3>\u003cem>The Serpent of Venice\u003c/em>\u003c/h3>\n\u003ch5>Christopher Moore\u003c/h5>\n\u003cp>When you’re not laughing, you’ll be giggling, and when not laughing or giggling, you’ll be awed by the sheer audacity of Christopher Moore’s \u003cem>The Serpent of Venice\u003c/em>, which manages to riff off of not one, not two but three, count ’em, three Shakespeare plays, Edgar Allen Poe and more history than a season of PBS.\u003c/p>\n\u003cp>Yes, it’s hilarious, but it is also imaginative and creepy when it needs to be. On the outside it looks like a goofy monster comedy, but on the inside, \u003cem>The Serpent of Venice\u003c/em> comes in a really gorgeous first printing in two colors of ink, like one of those high-falutin’ leather editions. This offers up some insight into the reading experience as well. It’s the best of both worlds, great literature and great fun. \u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/whitehead-the_noble_hustle.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/whitehead-the_noble_hustle.jpg\" alt=\"the noble hustle\" width=\"371\" height=\"552\" class=\"alignleft size-full wp-image-10136764\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/whitehead-the_noble_hustle.jpg 371w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/whitehead-the_noble_hustle-201x300.jpg 201w\" sizes=\"(max-width: 371px) 100vw, 371px\">\u003c/a>\n\u003ch3>\u003cem>The Noble Hustle: Poker, Beef Jerky and Death\u003c/em>\u003c/h3>\n\u003ch5>Colson Whitehead\u003c/h5>\n\u003cp>It’s impossible to resist the premise or the prose. The premise: \u003cem>Grantland\u003c/em> magazine sends Colson Whitehead, a guy who knows a bit about poker from years of friendly for-money games, to the World Series of Poker and asks him to write about it. Read the first paragraph, and you may not know whether it was the green pill or the red pill, but the world’s no longer the world. Colson Whitehead finds a great groove and the rest of the book is rock and roll.\u003c/p>\n\u003cp>Whitehead begins the book as a freshly divorced dad, dotingly dropping off his daughter at school then taking the bus to Atlantic City for a hard day and night of gambling practice. He takes on a poker \u003cem>sensei\u003c/em>, an ass-kicking middle-aged housewife type, and worries about his role as the “Magic Negro,” who will bestow her with a Hollywood blessing. The practice is fascinating even if you’ve never watched or rarely played poker. Whitehead’s writing is compacted and engagingly entertaining. \u003cem>The Noble Hustle\u003c/em> lives up to its title, covering poker, beef jerky and death in some depth. Like summer, you’ll miss it when it’s gone, but Whitehead has an extensive back catalogue to mine.\u003c/p>\u003c/div>\n\u003cp>This list just skims the surface of summer reading that is great literature. Even the frothiest romance, the slickest mystery, the elf-filled fantasy, the girly apocalypse, the celebrity schmooze or the latest how-to-build-an-igloo-on-the-beach book offer something that no television show, radio program, or 3D, 2D, 1D movie can match. That would be reading, that particular experience where you look at the page and turn the words into worlds, where you are in a very real sense the artist and not just the audience. Who needs to brag, really? Just enjoy!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Four Women Struggle with a Complex Family History in 'The Year She Left Us'",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/yearsheleft1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/yearsheleft1.jpg\" alt=\"Year She Left Us book cover\" width=\"400\" height=\"607\" class=\"alignleft size-full wp-image-10136901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/yearsheleft1.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/yearsheleft1-197x300.jpg 197w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>San Francisco has long been a hub of Chinese-American history, but, in her first novel, local author Kathryn Ma takes a fresh look at the ties that still stretch across the Pacific. \u003cem>The Year She Left Us\u003c/em> tells the story of three generations of Chinese-American women living in San Francisco. The matriarch, Gran, leaves Mao’s China to study at Bryn Mawr, start a family, and run a successful restaurant. Her two daughters inherit all of her ambition – Charlie becomes a lawyer and Les a judge – but never marry. Instead, the younger daughter, Charlie, decides to adopt a baby girl from China. And so the scene is set for Ma’s exploration of family, cultural identity, and the inextricability of the present and the past.\u003c/p>\n\u003cp>The four women take turns narrating what happens when Ari, the adopted daughter, returns to China to visit her orphanage and suffers a nervous breakdown. Somewhat unsettlingly, Ma allows Ari and Gran to speak in the first person but uses the third person for Charlie’s and Les’ points of view. The frame of the story also never fully develops. Ma hints that Gran and Ari are collaborating to write a therapeutic account of this traumatic year in the family’s life, but Charlie’s and Les’ contributions are never explained.\u003c/p>\n\u003cp>Nevertheless, the alternating voices reveal a rewardingly complex story. This is more than a tale of family dysfunction, or even of an adopted child coming to terms with her identity. Ari is not the only one wrestling with the past. Each of the women is sheltering a secret, and each is affected by truths she can never know: Ari wonders about her birth parents; Charlie tries to forget the man who left her soon after the adoption; Les refuses to consider the possibility of marrying her long-time lover; and Gran is haunted by what, and whom, she left behind in China.\u003c/p>\n\u003cp>Ma skillfully links the family’s personal troubles to wider social and historical forces, from the Cultural Revolution to the racial and gender prejudice Charlie and Les face at work. Her satirical tone never obscures the pathos she brings to this tale of cultural and personal confusion. As the four women’s secrets are revealed one by one, their individual vulnerabilities and unexpected strengths emerge as well. By portraying four characters struggling with the same twisted family history in very different ways, Ma makes her protagonists vivid and unpredictable. With sympathy for each of these characters and their unique troubles, Ma breaks down the label ‘Chinese-American’ into a complex, human story.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Kathryn Ma will be reading from \u003cem>The Year She Left Us\u003c/em> at bookstores around the Bay Area through June 29\u003csup>th\u003c/sup>. For a complete \u003ca href=\"http://www.kathrynma.com/events.html\">list of events\u003c/a>, visit \u003ca href=\"http://www.kathrynma.com/events.html\">kathrynma.com\u003c/a>.\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>Listen to KQED \u003ci>Forum’s\u003c/i> May 19, 2014 interview with Kathryn Ma.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/forum/2014/05/20140519bbforum.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/yearsheleft1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/yearsheleft1.jpg\" alt=\"Year She Left Us book cover\" width=\"400\" height=\"607\" class=\"alignleft size-full wp-image-10136901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/yearsheleft1.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/yearsheleft1-197x300.jpg 197w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>San Francisco has long been a hub of Chinese-American history, but, in her first novel, local author Kathryn Ma takes a fresh look at the ties that still stretch across the Pacific. \u003cem>The Year She Left Us\u003c/em> tells the story of three generations of Chinese-American women living in San Francisco. The matriarch, Gran, leaves Mao’s China to study at Bryn Mawr, start a family, and run a successful restaurant. Her two daughters inherit all of her ambition – Charlie becomes a lawyer and Les a judge – but never marry. Instead, the younger daughter, Charlie, decides to adopt a baby girl from China. And so the scene is set for Ma’s exploration of family, cultural identity, and the inextricability of the present and the past.\u003c/p>\n\u003cp>The four women take turns narrating what happens when Ari, the adopted daughter, returns to China to visit her orphanage and suffers a nervous breakdown. Somewhat unsettlingly, Ma allows Ari and Gran to speak in the first person but uses the third person for Charlie’s and Les’ points of view. The frame of the story also never fully develops. Ma hints that Gran and Ari are collaborating to write a therapeutic account of this traumatic year in the family’s life, but Charlie’s and Les’ contributions are never explained.\u003c/p>\n\u003cp>Nevertheless, the alternating voices reveal a rewardingly complex story. This is more than a tale of family dysfunction, or even of an adopted child coming to terms with her identity. Ari is not the only one wrestling with the past. Each of the women is sheltering a secret, and each is affected by truths she can never know: Ari wonders about her birth parents; Charlie tries to forget the man who left her soon after the adoption; Les refuses to consider the possibility of marrying her long-time lover; and Gran is haunted by what, and whom, she left behind in China.\u003c/p>\n\u003cp>Ma skillfully links the family’s personal troubles to wider social and historical forces, from the Cultural Revolution to the racial and gender prejudice Charlie and Les face at work. Her satirical tone never obscures the pathos she brings to this tale of cultural and personal confusion. As the four women’s secrets are revealed one by one, their individual vulnerabilities and unexpected strengths emerge as well. By portraying four characters struggling with the same twisted family history in very different ways, Ma makes her protagonists vivid and unpredictable. With sympathy for each of these characters and their unique troubles, Ma breaks down the label ‘Chinese-American’ into a complex, human story.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Kathryn Ma will be reading from \u003cem>The Year She Left Us\u003c/em> at bookstores around the Bay Area through June 29\u003csup>th\u003c/sup>. For a complete \u003ca href=\"http://www.kathrynma.com/events.html\">list of events\u003c/a>, visit \u003ca href=\"http://www.kathrynma.com/events.html\">kathrynma.com\u003c/a>.\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>Listen to KQED \u003ci>Forum’s\u003c/i> May 19, 2014 interview with Kathryn Ma.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/forum/2014/05/20140519bbforum.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\n\u003c/div>\u003c/p>",
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"title": "Friday at Enrico's: Don Carpenter's Posthumous Farewell",
"headTitle": "Friday at Enrico’s: Don Carpenter’s Posthumous Farewell | KQED",
"content": "\u003cp>You can probably imagine everything about Don Carpenter and his writing if I told you that he kept a gun in the drawer of his desk — just an inch below where he writes — and that he did this not for dramatic but for practical reasons. Carpenter’s writing is bleak, his irony delicious, and his stories are imbued with a kind of admirable cynicism.\u003c/p>\n\u003cp>At the time when the San Francisco native was working on what would become his last novel, \u003cem>Friday at Enrico’s\u003c/em>, Carpenter was plagued by complications from tuberculosis and diabetes. It was 1995, he was 64, and he was losing his sight completely. In the summer of that year, \u003ca href=\"http://www.nytimes.com/1995/07/30/obituaries/don-carpenter-64-a-novelist-who-wrote-about-bleak-lives.html\" target=\"_blank\" rel=\"noopener\">he took his own life\u003c/a> inside his “tiny, cluttered apartment in Mill Valley,” according to the NY Times, and it had been six years since his last novel was published.\u003c/p>\n\u003cp>Around the time Carpenter took his own life, there were rumors of a last, unfinished manuscript, but slowly days became years and the rumors subsumed.\u003c/p>\n\u003cp>Flash forward to the current day and we find a resurgence of interest in Carpenter. The New York Times Review of Books re-released Carpenter’s first novel, \u003cem>Hard Rain Falling, \u003c/em>as part of their Classics series. And then Jack Shoemaker, editor at Counterpoint Press, begins wondering “whatever happened to Carpenter’s last manuscript?” What he remembered was that it was almost ready, but was missing some crucial transitions.\u003c/p>\n\u003cp>The man to finish the job? Jonathan Lethem, best-selling author of \u003cem>Motherless Brooklyn.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lethem wrote in the afterword of \u003cem>Friday at Enrico’s \u003c/em>about what it was like to enter the world of a writer he had long professed his admiration for, stating “The chance to flatter myself by coming in like Mariano Rivero in the ninth was irresistible.”\u003c/p>\n\u003cp>In the same afterword, Lethem notes that the tidying up he did adds up to about five or eight pages, which is to say \u003cem>Friday at Enrico’s\u003c/em> is 1.5 percent Lethem.\u003c/p>\n\u003cfigure id=\"attachment_10136431\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/lethem_authorphoto.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10136431 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/lethem_authorphoto.jpg\" alt=\"Author Jonathan Lethem. Credit: John Lucas\" width=\"300\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/lethem_authorphoto.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/lethem_authorphoto-200x300.jpg 200w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Author Jonathan Lethem. Credit: John Lucas\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Friday at Enrico’s \u003c/em>is a book about California’s literary scene in the ’50s and ’60s, the high times of the \u003ca href=\"http://en.wikipedia.org/wiki/Beat_Generation\" target=\"_blank\" rel=\"noopener\">Beat Generation.\u003c/a> It’s a book that expounds on the dire conditions of being a perpetually-emerging artist, the boiling schadenfreude, the petty intrigues, failed marriages, and the pulling ahead of the few. We can speculate on whom the characters of \u003cem>Friday at Enrico’s \u003c/em>are based on, but it feels unnecessary. It’s enough to say that this is a group portrait of the writers who frequented the North Beach café Enrico’s (now Naked Lunch), and that among them was Richard Brautigan, author of the cult novel \u003cem>Trout Fishing in America.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Friday at Enrico’s\u003c/em> is a compulsive read; the writing is sure of itself, and it reminds me of Roberto Bolaño’s masterpiece, \u003cem>Savage Detectives, \u003c/em>except instead of exploring the youth of an emerging literary scene, \u003cem>Friday at Enrico’s\u003c/em> graduates into the adult realities of choosing a bohemian life. There is Dick Dubonet, a writer plagued by the too-early success of selling a story to \u003cem>Playboy\u003c/em> who never writes again; there is Charlie Monel, who has oodles of potential but lets it squander in time; and then there is Jaime (Charlie’s wife), who quietly and unexpectedly turns out a bestseller. There is the feeling of being inside a small pond, filled with growing Siamese fighting fish.\u003c/p>\n\u003cp>I like Stan Winger the most, a jewel thief who arrives at writing by chance, seeking something to do while wiling his time away at prison. Someone tries to introduce him to Dick Dubonet when he is still the toast of the literary scene in Portland.\u003c/p>\n\u003cblockquote>\u003cp>Stan stood up to shake hands with the writer. He was a good-looking little guy, about an inch shorter than Stan, who was only five seven himself. He had a good handshake, though. Stan was ashamed of his own, his palm wet most of the time, so that he was unwilling to really squeeze a guy’s hand.\u003c/p>\n\u003cp>“Sorry, my hand’s wet,” he said, and wished he hadn’t.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10136432 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Fridays-at-Enricos-cover-178x300.jpg\" alt=\"Fridays at Enricos cover\" width=\"178\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Fridays-at-Enricos-cover-178x300.jpg 178w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Fridays-at-Enricos-cover.jpg 477w\" sizes=\"(max-width: 178px) 100vw, 178px\">“All of Oregon is wet tonight,” Dick Dubonet said rather loudly… Obviously, the local kingpin.\u003c/p>\n\u003cp>“We were just talking about love,” Marty said, loudly himself. “Stan’s a writer too.”\u003c/p>\n\u003cp>Dick’s eyebrow went up. “Really? What’s your name again?”\u003c/p>\n\u003cp>“I haven’t published anything.” Stan grinned down at the tablecloth.\u003c/p>\n\u003cp>“Ah,” Dick said, “Would-be writer.”\u003c/p>\u003c/blockquote>\n\u003cp>There is a pleasure in reading about the role reversals in the literary community that Carpenter so painstakingly depicts in \u003cem>Friday’s at Enrico’s\u003c/em>, but the real joy of this book is in the depiction of real aspects of such an important time for Californian literature that doesn’t get too glassy-eyed and nostalgic. As Lethem writes in the afterword, “Carpenter writes as someone who knows the West as a real geography, with a culture of its own, a place to live the usual quandaries of existence, rather than a petri dish for American Destiny.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Friday at Enrico’s \u003c/em>is \u003ca href=\"http://www.indiebound.org/book/9781619023017\">out\u003c/a> now. For \u003ca href=\"http://counterpointpress.com/products/fridays-at-enricos/\">more information,\u003c/a> visit counterpointpress.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You can probably imagine everything about Don Carpenter and his writing if I told you that he kept a gun in the drawer of his desk — just an inch below where he writes — and that he did this not for dramatic but for practical reasons. Carpenter’s writing is bleak, his irony delicious, and his stories are imbued with a kind of admirable cynicism.\u003c/p>\n\u003cp>At the time when the San Francisco native was working on what would become his last novel, \u003cem>Friday at Enrico’s\u003c/em>, Carpenter was plagued by complications from tuberculosis and diabetes. It was 1995, he was 64, and he was losing his sight completely. In the summer of that year, \u003ca href=\"http://www.nytimes.com/1995/07/30/obituaries/don-carpenter-64-a-novelist-who-wrote-about-bleak-lives.html\" target=\"_blank\" rel=\"noopener\">he took his own life\u003c/a> inside his “tiny, cluttered apartment in Mill Valley,” according to the NY Times, and it had been six years since his last novel was published.\u003c/p>\n\u003cp>Around the time Carpenter took his own life, there were rumors of a last, unfinished manuscript, but slowly days became years and the rumors subsumed.\u003c/p>\n\u003cp>Flash forward to the current day and we find a resurgence of interest in Carpenter. The New York Times Review of Books re-released Carpenter’s first novel, \u003cem>Hard Rain Falling, \u003c/em>as part of their Classics series. And then Jack Shoemaker, editor at Counterpoint Press, begins wondering “whatever happened to Carpenter’s last manuscript?” What he remembered was that it was almost ready, but was missing some crucial transitions.\u003c/p>\n\u003cp>The man to finish the job? Jonathan Lethem, best-selling author of \u003cem>Motherless Brooklyn.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lethem wrote in the afterword of \u003cem>Friday at Enrico’s \u003c/em>about what it was like to enter the world of a writer he had long professed his admiration for, stating “The chance to flatter myself by coming in like Mariano Rivero in the ninth was irresistible.”\u003c/p>\n\u003cp>In the same afterword, Lethem notes that the tidying up he did adds up to about five or eight pages, which is to say \u003cem>Friday at Enrico’s\u003c/em> is 1.5 percent Lethem.\u003c/p>\n\u003cfigure id=\"attachment_10136431\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/lethem_authorphoto.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10136431 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/lethem_authorphoto.jpg\" alt=\"Author Jonathan Lethem. Credit: John Lucas\" width=\"300\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/lethem_authorphoto.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/lethem_authorphoto-200x300.jpg 200w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Author Jonathan Lethem. Credit: John Lucas\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Friday at Enrico’s \u003c/em>is a book about California’s literary scene in the ’50s and ’60s, the high times of the \u003ca href=\"http://en.wikipedia.org/wiki/Beat_Generation\" target=\"_blank\" rel=\"noopener\">Beat Generation.\u003c/a> It’s a book that expounds on the dire conditions of being a perpetually-emerging artist, the boiling schadenfreude, the petty intrigues, failed marriages, and the pulling ahead of the few. We can speculate on whom the characters of \u003cem>Friday at Enrico’s \u003c/em>are based on, but it feels unnecessary. It’s enough to say that this is a group portrait of the writers who frequented the North Beach café Enrico’s (now Naked Lunch), and that among them was Richard Brautigan, author of the cult novel \u003cem>Trout Fishing in America.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Friday at Enrico’s\u003c/em> is a compulsive read; the writing is sure of itself, and it reminds me of Roberto Bolaño’s masterpiece, \u003cem>Savage Detectives, \u003c/em>except instead of exploring the youth of an emerging literary scene, \u003cem>Friday at Enrico’s\u003c/em> graduates into the adult realities of choosing a bohemian life. There is Dick Dubonet, a writer plagued by the too-early success of selling a story to \u003cem>Playboy\u003c/em> who never writes again; there is Charlie Monel, who has oodles of potential but lets it squander in time; and then there is Jaime (Charlie’s wife), who quietly and unexpectedly turns out a bestseller. There is the feeling of being inside a small pond, filled with growing Siamese fighting fish.\u003c/p>\n\u003cp>I like Stan Winger the most, a jewel thief who arrives at writing by chance, seeking something to do while wiling his time away at prison. Someone tries to introduce him to Dick Dubonet when he is still the toast of the literary scene in Portland.\u003c/p>\n\u003cblockquote>\u003cp>Stan stood up to shake hands with the writer. He was a good-looking little guy, about an inch shorter than Stan, who was only five seven himself. He had a good handshake, though. Stan was ashamed of his own, his palm wet most of the time, so that he was unwilling to really squeeze a guy’s hand.\u003c/p>\n\u003cp>“Sorry, my hand’s wet,” he said, and wished he hadn’t.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10136432 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Fridays-at-Enricos-cover-178x300.jpg\" alt=\"Fridays at Enricos cover\" width=\"178\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Fridays-at-Enricos-cover-178x300.jpg 178w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Fridays-at-Enricos-cover.jpg 477w\" sizes=\"(max-width: 178px) 100vw, 178px\">“All of Oregon is wet tonight,” Dick Dubonet said rather loudly… Obviously, the local kingpin.\u003c/p>\n\u003cp>“We were just talking about love,” Marty said, loudly himself. “Stan’s a writer too.”\u003c/p>\n\u003cp>Dick’s eyebrow went up. “Really? What’s your name again?”\u003c/p>\n\u003cp>“I haven’t published anything.” Stan grinned down at the tablecloth.\u003c/p>\n\u003cp>“Ah,” Dick said, “Would-be writer.”\u003c/p>\u003c/blockquote>\n\u003cp>There is a pleasure in reading about the role reversals in the literary community that Carpenter so painstakingly depicts in \u003cem>Friday’s at Enrico’s\u003c/em>, but the real joy of this book is in the depiction of real aspects of such an important time for Californian literature that doesn’t get too glassy-eyed and nostalgic. As Lethem writes in the afterword, “Carpenter writes as someone who knows the West as a real geography, with a culture of its own, a place to live the usual quandaries of existence, rather than a petri dish for American Destiny.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Friday at Enrico’s \u003c/em>is \u003ca href=\"http://www.indiebound.org/book/9781619023017\">out\u003c/a> now. For \u003ca href=\"http://counterpointpress.com/products/fridays-at-enricos/\">more information,\u003c/a> visit counterpointpress.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sci-Fi San Francisco: Examples of the City in the Future",
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"content": "\u003cp>In the latest round of \u003cem>Star Trek\u003c/em> movies, San Francisco finally became a city of the future; at least on the screen. The movie and the city both looked great, even though one might be given to wonder if any elected Board of Supervisors would OK a spaceport in the midst of the downtown skyscrapers.\u003c/p>\n\u003cp>But San Francisco and the Bay Area have a rich literary history in the future. You can leave your everyday girl-power dystopia at the box office, and saunter in the quite lovely present to any of a number of independent bookstores to find a variety of volumes that present “Baghdad by the Bay” in an imagined future. Happily, dystopias and apocalypses sometimes prove to be a \u003cem>good\u003c/em> thing. San Francisco’s unique landscape and cityscape are fertile ground for the writers’ imaginations.\u003c/p>\n\u003cp>It’s important to remember, as you choose your future, that any given book, no matter how imaginatively conceived, is written in the present. Even the most wildly crafted vision takes its cues from the times in which it was written. In this selection you’ll find visions of the future set in the past, and visions of the future informed by the present. Science fiction is notoriously bad at predicting future, but it’s often spot-on when it comes to describing how it feels to be living in a present that is moving faster than we’d prefer.\u003c/p>\n\u003ch3>Jack London, \u003cem>The Scarlet Plague\u003c/em> (1915)\u003c/h3>\n\u003cfigure id=\"attachment_10136035\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/london-the_scarlet_plague.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10136035 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/london-the_scarlet_plague-400x512.jpg\" alt=\"Jack London's <i>The Scarlet Plague</i>\" width=\"400\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/london-the_scarlet_plague-400x512.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/london-the_scarlet_plague-234x300.jpg 234w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/london-the_scarlet_plague.jpg 650w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jack London’s \u003ci>The Scarlet Plague\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Jack London, best known for \u003cem>Call of the Wild,\u003c/em> was also on the cutting edge of science fiction 100 years ago. First published in 1915, \u003cem>The Scarlet Plague\u003c/em> unfolds in the year 2073, sixty years after The Red Death has wiped out most of mankind. The plague first takes hold in the summer of 2013, so readers can be assured we’re not too far into this particular apocalypse. The novel is an excellent early version of the “last men on earth” genre that’s overrunning today’s bookstores. James Howard Smith, one of these last men, takes his time to try to leave something of what he’s learned for those few(er) who will follow. For all his love of the wild, London did not see in depopulation the potential for an Edenic return to nature. Instead, he saw man as devolving into a barbaric state. An ardent anti-Capitalist, London authored another dystopia, \u003cem>The Iron Heel\u003c/em>, which saw America under the thrall of an oppressive oligarchy just about \u003cem>now\u003c/em>. He’d feel right at home in today’s San Francisco, churning out best-selling action blockbusters and able to afford a $3,500 first edition of his own book.\u003c/p>\n\u003ch3>Philip K. Dick, \u003cem>Do Androids Dream of Electric Sheep?\u003c/em> (1968)\u003c/h3>\n\u003cfigure id=\"attachment_10136457\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/DoAndroidsDream.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10136457\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/DoAndroidsDream-400x621.jpg\" alt=\"Philip K Dick's <i>Do Androids Dream of Electric Sheep</i>\" width=\"400\" height=\"621\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/DoAndroidsDream-400x621.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/DoAndroidsDream-193x300.jpg 193w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/DoAndroidsDream.jpg 483w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Philip K Dick’s \u003ci>Do Androids Dream of Electric Sheep\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Philip K. Dick’s most famous novel, the basis for the movie \u003cem>Blade Runner\u003c/em>, is set, unlike the movie, in and around San Francisco. For Dick, the future was 1992 and after World War Terminus, the humans remaining on earth are slowly dying of radiation poisoning. Happily for the City, San Francisco is one of the least affected places. Rick Deckard is tasked with finding renegade Nexus-6 Androids, created for slavery on Mars, who have escaped to Earth and are trying to pass for human. As Deckard pursues his prey, he finds humans who seem artificial and androids who seem human. The power of empathy, for animals and humans, runs through the novel, as Deckard takes his flying car to the source, and administers tests to differentiate the real from the created. Dick’s novel is considerably more complex than Ridley Scott’s movie. Even if it is set more than twenty years in the past, Dick’s future feels tense and pertinent. For a novel that is not just dated, but twice dated, \u003cem>Do Androids Dream of Electric Sheep?\u003c/em> has the timeless feel of fable.\u003c/p>\n\u003ch3>Pat Murphy, \u003cem>The City, Not Long After\u003c/em> (1988)\u003c/h3>\n\u003cfigure id=\"attachment_10136037\" class=\"wp-caption alignright\" style=\"max-width: 287px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/murphy-the_city_not_long_after.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10136037\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/murphy-the_city_not_long_after.jpg\" alt=\"Pat Murphy's <i>The City, Not Long After</i>\" width=\"287\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/murphy-the_city_not_long_after.jpg 287w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/murphy-the_city_not_long_after-181x300.jpg 181w\" sizes=\"(max-width: 287px) 100vw, 287px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Pat Murphy’s \u003ci>The City, Not Long After\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Welcome to post-plague San Francisco, and \u003cem>The City, Not Long After\u003c/em>, which, in spite of its premise, is a decidedly Utopian vision of artists and creators living in harmony 20 years after the end. Murphy’s novel perfectly captures the sense of San Francisco, with unusual, intense characters and the feeling of a future that plays like the present and is literally haunted by the past. The characters are a delight, sweet and weird. The Machine makes robots and believes himself to be one; Lily collects skulls with which to dress department store windows, and Danny Boy wants nothing less than to paint the Golden Gate Bridge blue. This is arguably the perfect post-apocalypse for San Francisco, a city overrun by artists who refuse to fight even when threatened by a military force bent on conquest. Moreover, and importantly, Murphy acknowledges the power that the past holds here, as the ghosts of San Francisco play an important role. Reverberating with themes of security versus liberty, the power of art and the peril of that power, Pat Murphy’s \u003cem>The City, Not Long After\u003c/em> understands the present as well as it presents the future.\u003c/p>\n\u003ch3>Richard Paul Russo, \u003cem>Carlucci: Destroying Angel, Carlucci’s Edge, Carlucci’s\u003cbr>\nHeart\u003c/em> (1992-1997)\u003c/h3>\n\u003cfigure id=\"attachment_10136041\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/russo-complete_carlucci.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10136041\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/russo-complete_carlucci-400x604.jpg\" alt=\"Richard Paul Russo's <i>Complete Carlucci</i>\" width=\"400\" height=\"604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/russo-complete_carlucci-400x604.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/russo-complete_carlucci-198x300.jpg 198w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/russo-complete_carlucci.jpg 427w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Richard Paul Russo’s \u003ci>Complete Carlucci\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>If you’re terrified of the Tenderloin, or love it as much as life itself, you’ll find a friend in Richard Paul Russo’s \u003cem>Carlucci\u003c/em>, which collects three science-fiction noir novels set in the mid-twenty first century, as imagined in the late twentieth century. Intricate, intense and as over-the-top as anything you’ll find in San Francisco in real life, Russo’s cyberpunk crime novels are the apotheosis of how the science fiction genre uses a literary toolkit to paint a town that’s already red ten different shades of 3-D purple. The first novel finds Carlucci in more of a supporting role, but the follow-ons build a rich character arc and manage the neat trick of being page-turning pulp with a beating, bleeding heart. Find the paperback original in a used bookstore and revel in the gloriously cheesy covers, then pick up the trade paperback gives you all three for a song, in an eminently readable format. Russo is a highly underrated writer whose future is being revealed as each day peels away the rotting velvet veneer to show us the robotic skeleton we wish we could not see. These books are fun, dark and true.\u003c/p>\n\u003ch3>Richard Morgan, \u003cem>Altered Carbon\u003c/em> (2002)\u003c/h3>\n\u003cfigure id=\"attachment_10136036\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/morgan-altered_carbon.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10136036\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/morgan-altered_carbon.jpg\" alt=\"Richard Morgan's <i>Altered Carbon</i>\" width=\"450\" height=\"680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/morgan-altered_carbon.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/morgan-altered_carbon-400x604.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/morgan-altered_carbon-198x300.jpg 198w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Richard Morgan’s \u003ci>Altered Carbon\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>The San Francisco of the 26th Century, portrayed in Richard Morgan’s \u003cem>Altered Carbon\u003c/em> offers much of what the city does today: unthinkable wealth jostling up against unacceptable poverty. In Morgan’s universe, humans are stored digitally with “altered carbon” being the storage medium. As long as the Cortical Stack is not destroyed, humans can simply be refitted into another ‘sleeve’, also known as a human body. Having been killed off planet in the novel’s first scene, Kovacs awakens on Earth (‘the most ancient of civilized worlds’), in San Francisco, re-sleeved and the recipient of an offer he cannot refuse. One of Earth’s oldest and richest men, a true Methuselah (a ‘meth’) has committed suicide. Of course he’s immediately resurrected, but his backup was made two days \u003cem>before\u003c/em> the suicide. The resurrected Laurens J. Bancroft doesn’t believe for a minute that his predecessor committed suicide. The police, in the form of the Organic Damage Squad’s beautiful Lieutenant Ortega, aren’t that interested in the case. Takeshi has to find the truth. Prepare for an intense and exciting novel where great characters and thought-provoking ideas are enmeshed in a smart, inventive mystery. (Morgan also took Kovacs off-planet in two sequels, \u003cem>Broken Angels\u003c/em> and \u003cem>Woken Furies\u003c/em>.)\u003c/p>\n\u003ch3>Leigh Richards, (Laurie R. King) \u003cem>Califia’s Daughters\u003c/em> (2004)\u003c/h3>\n\u003cfigure id=\"attachment_10136040\" class=\"wp-caption alignright\" style=\"max-width: 216px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/richards-califias_daughters.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10136040\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/richards-califias_daughters.jpg\" alt=\"Leigh Richards <i>Califia's Daughters</i>\" width=\"216\" height=\"355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/richards-califias_daughters.jpg 216w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/richards-califias_daughters-182x300.jpg 182w\" sizes=\"(max-width: 216px) 100vw, 216px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Leigh Richards \u003ci>Califia’s Daughters\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Men are an endangered species in Laurie R. King’s \u003cem>Califia’s Daughters.\u003c/em> King, who wrote “Daughters” under the pen name Leigh Richards, knows genre fiction well and is a wonderful writer. In this novel, King’s inversion of reality as we know it proves to be a rather excellent portrait of the world as it is. After the plague, which was probably a primary color, Northern California is a land of warring tribes made up of mostly women. Men are kept and precious. When strangers come to Dian’s tribe, she’s off on a quest to understand their story, and, of course her own. King’s feminist vision manages to be rich and character-driven and well ahead of its time. \u003cem>Califia’s Daughters\u003c/em> was in fact King’s first novel, and there’s clearly room for a much-desired sequel.\u003c/p>\n\u003ch3>Dale Pendell, \u003cem>The Great Bay: Chronicles of the Collapse\u003c/em> (2010)\u003c/h3>\n\u003cfigure id=\"attachment_10136039\" class=\"wp-caption alignright\" style=\"max-width: 446px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/pendell-the_great_bay.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10136039 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/pendell-the_great_bay.jpg\" alt=\"Dale Pendell, <em>The Great Bay: Chronicles of the Collapse</em> \" width=\"446\" height=\"666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/pendell-the_great_bay.jpg 446w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/pendell-the_great_bay-400x597.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/pendell-the_great_bay-200x300.jpg 200w\" sizes=\"(max-width: 446px) 100vw, 446px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dale Pendell’s \u003cem>The Great Bay: Chronicles of the Collapse\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>Plagues are popular. It’s an easy way to wipe the slate clean. Unlike Jack London, who headed up this list, Dale Pendell finds the aftermath of his plague in \u003cem>The Great Bay,\u003c/em> to be decidedly naturalistic and Edenic. It might take \u003cem>sixteen thousand years\u003c/em> to get there, but it will happen. Of course, that’s only after rising sea levels transform what we now call the Central Valley into, well, The Great Bay. Pendell uses oral history to take readers through thousands of years, leaving us (that is the so-called present) behind in what he terms the Thermocene. Maps, journals, diary entries, newspaper clippings and field notes stitch together the story of humanity without technology. This generally proves to be a plus, so long as you don’t like technology too much. Pendell is a crafty writer with a grand, grand vision of the future. If H. G. Wells had the climate data, he might have attempted a book like this. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It behooves readers to remind themselves that books are a powerful incarnation of technology. They haven’t changed much, or been improved on, in some 400 years. When everything else is obsolete, broken or incomprehensibly complicated, books will still be as accessible as ever. Just open the cover and start reading.\u003c/p>\n\n",
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"excerpt": "San Francisco's unique landscape and cityscape are fertile ground for the writers' imaginations, and that's demonstrated by the numerous science fiction novels based in the Bay Area.",
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"description": "San Francisco's unique landscape and cityscape are fertile ground for the writers' imaginations, and that's demonstrated by the numerous science fiction novels based in the Bay Area.",
"title": "Sci-Fi San Francisco: Examples of the City in the Future | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the latest round of \u003cem>Star Trek\u003c/em> movies, San Francisco finally became a city of the future; at least on the screen. The movie and the city both looked great, even though one might be given to wonder if any elected Board of Supervisors would OK a spaceport in the midst of the downtown skyscrapers.\u003c/p>\n\u003cp>But San Francisco and the Bay Area have a rich literary history in the future. You can leave your everyday girl-power dystopia at the box office, and saunter in the quite lovely present to any of a number of independent bookstores to find a variety of volumes that present “Baghdad by the Bay” in an imagined future. Happily, dystopias and apocalypses sometimes prove to be a \u003cem>good\u003c/em> thing. San Francisco’s unique landscape and cityscape are fertile ground for the writers’ imaginations.\u003c/p>\n\u003cp>It’s important to remember, as you choose your future, that any given book, no matter how imaginatively conceived, is written in the present. Even the most wildly crafted vision takes its cues from the times in which it was written. In this selection you’ll find visions of the future set in the past, and visions of the future informed by the present. Science fiction is notoriously bad at predicting future, but it’s often spot-on when it comes to describing how it feels to be living in a present that is moving faster than we’d prefer.\u003c/p>\n\u003ch3>Jack London, \u003cem>The Scarlet Plague\u003c/em> (1915)\u003c/h3>\n\u003cfigure id=\"attachment_10136035\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/london-the_scarlet_plague.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10136035 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/london-the_scarlet_plague-400x512.jpg\" alt=\"Jack London's <i>The Scarlet Plague</i>\" width=\"400\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/london-the_scarlet_plague-400x512.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/london-the_scarlet_plague-234x300.jpg 234w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/london-the_scarlet_plague.jpg 650w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jack London’s \u003ci>The Scarlet Plague\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Jack London, best known for \u003cem>Call of the Wild,\u003c/em> was also on the cutting edge of science fiction 100 years ago. First published in 1915, \u003cem>The Scarlet Plague\u003c/em> unfolds in the year 2073, sixty years after The Red Death has wiped out most of mankind. The plague first takes hold in the summer of 2013, so readers can be assured we’re not too far into this particular apocalypse. The novel is an excellent early version of the “last men on earth” genre that’s overrunning today’s bookstores. James Howard Smith, one of these last men, takes his time to try to leave something of what he’s learned for those few(er) who will follow. For all his love of the wild, London did not see in depopulation the potential for an Edenic return to nature. Instead, he saw man as devolving into a barbaric state. An ardent anti-Capitalist, London authored another dystopia, \u003cem>The Iron Heel\u003c/em>, which saw America under the thrall of an oppressive oligarchy just about \u003cem>now\u003c/em>. He’d feel right at home in today’s San Francisco, churning out best-selling action blockbusters and able to afford a $3,500 first edition of his own book.\u003c/p>\n\u003ch3>Philip K. Dick, \u003cem>Do Androids Dream of Electric Sheep?\u003c/em> (1968)\u003c/h3>\n\u003cfigure id=\"attachment_10136457\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/DoAndroidsDream.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10136457\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/DoAndroidsDream-400x621.jpg\" alt=\"Philip K Dick's <i>Do Androids Dream of Electric Sheep</i>\" width=\"400\" height=\"621\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/DoAndroidsDream-400x621.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/DoAndroidsDream-193x300.jpg 193w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/DoAndroidsDream.jpg 483w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Philip K Dick’s \u003ci>Do Androids Dream of Electric Sheep\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Philip K. Dick’s most famous novel, the basis for the movie \u003cem>Blade Runner\u003c/em>, is set, unlike the movie, in and around San Francisco. For Dick, the future was 1992 and after World War Terminus, the humans remaining on earth are slowly dying of radiation poisoning. Happily for the City, San Francisco is one of the least affected places. Rick Deckard is tasked with finding renegade Nexus-6 Androids, created for slavery on Mars, who have escaped to Earth and are trying to pass for human. As Deckard pursues his prey, he finds humans who seem artificial and androids who seem human. The power of empathy, for animals and humans, runs through the novel, as Deckard takes his flying car to the source, and administers tests to differentiate the real from the created. Dick’s novel is considerably more complex than Ridley Scott’s movie. Even if it is set more than twenty years in the past, Dick’s future feels tense and pertinent. For a novel that is not just dated, but twice dated, \u003cem>Do Androids Dream of Electric Sheep?\u003c/em> has the timeless feel of fable.\u003c/p>\n\u003ch3>Pat Murphy, \u003cem>The City, Not Long After\u003c/em> (1988)\u003c/h3>\n\u003cfigure id=\"attachment_10136037\" class=\"wp-caption alignright\" style=\"max-width: 287px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/murphy-the_city_not_long_after.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10136037\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/murphy-the_city_not_long_after.jpg\" alt=\"Pat Murphy's <i>The City, Not Long After</i>\" width=\"287\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/murphy-the_city_not_long_after.jpg 287w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/murphy-the_city_not_long_after-181x300.jpg 181w\" sizes=\"(max-width: 287px) 100vw, 287px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Pat Murphy’s \u003ci>The City, Not Long After\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Welcome to post-plague San Francisco, and \u003cem>The City, Not Long After\u003c/em>, which, in spite of its premise, is a decidedly Utopian vision of artists and creators living in harmony 20 years after the end. Murphy’s novel perfectly captures the sense of San Francisco, with unusual, intense characters and the feeling of a future that plays like the present and is literally haunted by the past. The characters are a delight, sweet and weird. The Machine makes robots and believes himself to be one; Lily collects skulls with which to dress department store windows, and Danny Boy wants nothing less than to paint the Golden Gate Bridge blue. This is arguably the perfect post-apocalypse for San Francisco, a city overrun by artists who refuse to fight even when threatened by a military force bent on conquest. Moreover, and importantly, Murphy acknowledges the power that the past holds here, as the ghosts of San Francisco play an important role. Reverberating with themes of security versus liberty, the power of art and the peril of that power, Pat Murphy’s \u003cem>The City, Not Long After\u003c/em> understands the present as well as it presents the future.\u003c/p>\n\u003ch3>Richard Paul Russo, \u003cem>Carlucci: Destroying Angel, Carlucci’s Edge, Carlucci’s\u003cbr>\nHeart\u003c/em> (1992-1997)\u003c/h3>\n\u003cfigure id=\"attachment_10136041\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/russo-complete_carlucci.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10136041\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/russo-complete_carlucci-400x604.jpg\" alt=\"Richard Paul Russo's <i>Complete Carlucci</i>\" width=\"400\" height=\"604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/russo-complete_carlucci-400x604.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/russo-complete_carlucci-198x300.jpg 198w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/russo-complete_carlucci.jpg 427w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Richard Paul Russo’s \u003ci>Complete Carlucci\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>If you’re terrified of the Tenderloin, or love it as much as life itself, you’ll find a friend in Richard Paul Russo’s \u003cem>Carlucci\u003c/em>, which collects three science-fiction noir novels set in the mid-twenty first century, as imagined in the late twentieth century. Intricate, intense and as over-the-top as anything you’ll find in San Francisco in real life, Russo’s cyberpunk crime novels are the apotheosis of how the science fiction genre uses a literary toolkit to paint a town that’s already red ten different shades of 3-D purple. The first novel finds Carlucci in more of a supporting role, but the follow-ons build a rich character arc and manage the neat trick of being page-turning pulp with a beating, bleeding heart. Find the paperback original in a used bookstore and revel in the gloriously cheesy covers, then pick up the trade paperback gives you all three for a song, in an eminently readable format. Russo is a highly underrated writer whose future is being revealed as each day peels away the rotting velvet veneer to show us the robotic skeleton we wish we could not see. These books are fun, dark and true.\u003c/p>\n\u003ch3>Richard Morgan, \u003cem>Altered Carbon\u003c/em> (2002)\u003c/h3>\n\u003cfigure id=\"attachment_10136036\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/morgan-altered_carbon.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10136036\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/morgan-altered_carbon.jpg\" alt=\"Richard Morgan's <i>Altered Carbon</i>\" width=\"450\" height=\"680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/morgan-altered_carbon.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/morgan-altered_carbon-400x604.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/morgan-altered_carbon-198x300.jpg 198w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Richard Morgan’s \u003ci>Altered Carbon\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>The San Francisco of the 26th Century, portrayed in Richard Morgan’s \u003cem>Altered Carbon\u003c/em> offers much of what the city does today: unthinkable wealth jostling up against unacceptable poverty. In Morgan’s universe, humans are stored digitally with “altered carbon” being the storage medium. As long as the Cortical Stack is not destroyed, humans can simply be refitted into another ‘sleeve’, also known as a human body. Having been killed off planet in the novel’s first scene, Kovacs awakens on Earth (‘the most ancient of civilized worlds’), in San Francisco, re-sleeved and the recipient of an offer he cannot refuse. One of Earth’s oldest and richest men, a true Methuselah (a ‘meth’) has committed suicide. Of course he’s immediately resurrected, but his backup was made two days \u003cem>before\u003c/em> the suicide. The resurrected Laurens J. Bancroft doesn’t believe for a minute that his predecessor committed suicide. The police, in the form of the Organic Damage Squad’s beautiful Lieutenant Ortega, aren’t that interested in the case. Takeshi has to find the truth. Prepare for an intense and exciting novel where great characters and thought-provoking ideas are enmeshed in a smart, inventive mystery. (Morgan also took Kovacs off-planet in two sequels, \u003cem>Broken Angels\u003c/em> and \u003cem>Woken Furies\u003c/em>.)\u003c/p>\n\u003ch3>Leigh Richards, (Laurie R. King) \u003cem>Califia’s Daughters\u003c/em> (2004)\u003c/h3>\n\u003cfigure id=\"attachment_10136040\" class=\"wp-caption alignright\" style=\"max-width: 216px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/richards-califias_daughters.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10136040\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/richards-califias_daughters.jpg\" alt=\"Leigh Richards <i>Califia's Daughters</i>\" width=\"216\" height=\"355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/richards-califias_daughters.jpg 216w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/richards-califias_daughters-182x300.jpg 182w\" sizes=\"(max-width: 216px) 100vw, 216px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Leigh Richards \u003ci>Califia’s Daughters\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Men are an endangered species in Laurie R. King’s \u003cem>Califia’s Daughters.\u003c/em> King, who wrote “Daughters” under the pen name Leigh Richards, knows genre fiction well and is a wonderful writer. In this novel, King’s inversion of reality as we know it proves to be a rather excellent portrait of the world as it is. After the plague, which was probably a primary color, Northern California is a land of warring tribes made up of mostly women. Men are kept and precious. When strangers come to Dian’s tribe, she’s off on a quest to understand their story, and, of course her own. King’s feminist vision manages to be rich and character-driven and well ahead of its time. \u003cem>Califia’s Daughters\u003c/em> was in fact King’s first novel, and there’s clearly room for a much-desired sequel.\u003c/p>\n\u003ch3>Dale Pendell, \u003cem>The Great Bay: Chronicles of the Collapse\u003c/em> (2010)\u003c/h3>\n\u003cfigure id=\"attachment_10136039\" class=\"wp-caption alignright\" style=\"max-width: 446px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/pendell-the_great_bay.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10136039 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/pendell-the_great_bay.jpg\" alt=\"Dale Pendell, <em>The Great Bay: Chronicles of the Collapse</em> \" width=\"446\" height=\"666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/pendell-the_great_bay.jpg 446w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/pendell-the_great_bay-400x597.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/pendell-the_great_bay-200x300.jpg 200w\" sizes=\"(max-width: 446px) 100vw, 446px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dale Pendell’s \u003cem>The Great Bay: Chronicles of the Collapse\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>Plagues are popular. It’s an easy way to wipe the slate clean. Unlike Jack London, who headed up this list, Dale Pendell finds the aftermath of his plague in \u003cem>The Great Bay,\u003c/em> to be decidedly naturalistic and Edenic. It might take \u003cem>sixteen thousand years\u003c/em> to get there, but it will happen. Of course, that’s only after rising sea levels transform what we now call the Central Valley into, well, The Great Bay. Pendell uses oral history to take readers through thousands of years, leaving us (that is the so-called present) behind in what he terms the Thermocene. Maps, journals, diary entries, newspaper clippings and field notes stitch together the story of humanity without technology. This generally proves to be a plus, so long as you don’t like technology too much. Pendell is a crafty writer with a grand, grand vision of the future. If H. G. Wells had the climate data, he might have attempted a book like this. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It behooves readers to remind themselves that books are a powerful incarnation of technology. They haven’t changed much, or been improved on, in some 400 years. When everything else is obsolete, broken or incomprehensibly complicated, books will still be as accessible as ever. Just open the cover and start reading.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>RENO — A state panel has effectively killed a bid to name a Lake Tahoe cove for Mark Twain, citing opposition from a \u003ca href=\"http://ww2.kqed.org/news/nevada-says-no-to-mark-twain-cove\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://ww2.kqed.org/news/nevada-says-no-to-mark-twain-cove\" target=\"_self\" title=\"‘Mark Twain Cove’ at Lake Tahoe? Native Americans Say No\" rel=\"noopener\">News Fix Arts\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Inside a Vision: The World of Codex Seraphinianus",
"headTitle": "Inside a Vision: The World of Codex Seraphinianus | KQED",
"content": "\u003cp>Books have an ability to transport us outside of our lives. They can take us to other times, other countries, places we might never go — from Teddy Roosevelt’s time as the Police Commissioner of New York in the non-fiction work \u003cem>Island of Vice\u003c/em> to the book-haunted Barcelona as crafted by Carlos Ruiz Zafón in his novel \u003cem>The Shadow of the Wind\u003c/em>. Books are the easiest means of space travel, whether we join Neil deGrasse Tyson in \u003cem>Space Chronicles\u003c/em> on a tour of the actual solar system or Frank Herbert to visit the imagined world of \u003cem>Dune\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_10135266\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/CodexSeraphinianus-11.jpg\" target=\"blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/CodexSeraphinianus-11-400x572.jpg\" alt=\"Cover Codex Seraphinianus by Luigi Serafini\" width=\"400\" height=\"572\" class=\"size-thumbnail wp-image-10135266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/CodexSeraphinianus-11-400x572.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/CodexSeraphinianus-11-209x300.jpg 209w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/CodexSeraphinianus-11.jpg 788w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cover, From Codex Seraphinianus by Luigi Serafini\u003c/figcaption>\u003c/figure>\n\u003cp>But even books that transport us to worlds other than our own seem to be clearly from our world. That’s not the case with the legendary work that calls itself \u003cem>Codex Seraphinianus\u003c/em>, with the byline of Italian artist and architect Luigi Serafini. The book itself is shrouded in mystery, and the content manages to capture the impossible on the printed page. It’s a book in a language that does not exist about a world that could not exist.\u003c/p>\n\u003cp>\u003cem>Codex Seraphinianus\u003c/em> is indeed real, though most who have heard of it know it more from rumor and second-hand description than actual experience. The original publication in Italy was in 1981, in two volumes; copies now fetch in the neighborhood of $5,000 to $10,000. An American version was published by Random House in one volume in 1983; one of these may set you back some $2,000 to $3,000. Even subsequent paperback copies cost $500 to $700. There’s a good reason that this book is more fable than fact in the minds of those who have come across word of it.\u003c/p>\n\u003cp>But late last year, that changed, when the author, working with Rizzoli Publishing in New York and Milan, issued a new edition, in a gorgeous, beautifully produced hardcover, with new illustrations, new “text” and even a short “De-Codex” describing the creation of this iconoclastic masterpiece. At $125, it’s a bargain, this book not only about a world that does not exist, could not exist; yes, the \u003cem>Codex Seraphinianus\u003c/em> is still clearly \u003cem>from\u003c/em> a world beyond human imagination.\u003c/p>\n\u003cfigure id=\"attachment_10135258\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/CodexSeraphinianus-3.jpg\" target=\"blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/CodexSeraphinianus-3-400x591.jpg\" alt=\"From Codex Seraphinianus by Luigi Serafini\" width=\"400\" height=\"591\" class=\"size-thumbnail wp-image-10135258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/CodexSeraphinianus-3-400x591.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/CodexSeraphinianus-3.jpg 947w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From Codex Seraphinianus by Luigi Serafini\u003c/figcaption>\u003c/figure>\n\u003cp>The book takes its cues from the most ancient encyclopedias; Pliny’s \u003cem>Nautralis Historia\u003c/em> and \u003cem>De Rerum Natura\u003c/em> by Lucretius. To accompany his surreal illustrations, Serafini created his own language, for a very specific writerly reason. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In his \u003cem>De-Codex\u003c/em>, he tells us: \u003c/p>\n\u003cblockquote>\u003cp>“The combining of a text and an image, we all know, generates a semblance of meaning, even if we understand neither the one nor the other. Do you remember how, when we were children, we’d leaf through picture books and, pretending we could read before the children older than us, fantasize about the images we saw there? Who knows, I thought to myself, unintelligible and alien writing could make us all free to experience once again those hazy childhood sensations.”\u003c/p>\u003c/blockquote>\n\u003cp>In the months and years that followed, Serafini fell into a trance of automatic writing, straight from the pages of the world of the Surrealist artists. He had to discover the nature of his own work. “One afternoon, Giorgio, a friend from college, came by with several ideas for an evening out. Lost in my thoughts, I told him I couldn’t join him because I was busy working on an encyclopedia. It was an illumination.”\u003c/p>\n\u003cfigure id=\"attachment_10135261\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/CodexSeraphinianus-6.jpg\" target=\"blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/CodexSeraphinianus-6-400x591.jpg\" alt=\"From Codex Seraphinianus by Luigi Serafini\" width=\"400\" height=\"591\" class=\"size-thumbnail wp-image-10135261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/CodexSeraphinianus-6-400x591.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/CodexSeraphinianus-6.jpg 947w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From Codex Seraphinianus by Luigi Serafini\u003c/figcaption>\u003c/figure>\n\u003cp>The author tells us in his “De-Codex” that he created the \u003cem>Codex Seraphinianus\u003c/em> with colored pencils and India ink, seated at a sawhorse, with a white cat on his shoulders. The outcome was a work of printed art, wrought in surreal anti-prose that explores the core concepts of the nature of communication and information even as it undermines reality. \u003c/p>\n\u003cp>The new edition of em>Codex Seraphinianus is large — 9 1/2″ by 13 1/2″, 396 pages, weighing more than 5 pounds — and while we’vee told that while nobody has cracked the language, the page numbering system has been deciphered. Rizzoli has printed the book on a heavy paper stock, and the images are nothing less than astonishing.\u003c/p>\n\u003cp>The intense strangeness of \u003cem>Codex Seraphinianus\u003c/em> belies the joyous feel of the artistry. Even the oddest, most unnerving images are rendered with pastel beauty, and a softness that makes them almost endearing. The abundant text confers an authority to the illustrations. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Serafini’s surreal imagination embraces a logic that is just beyond our grasp, and the experience of reading this book is utterly unique. There is – there \u003cem>can be\u003c/em> – nothing like it. In \u003cem>De-Codex\u003c/em>, Serafini explains this quite handily: “I must confess that the true author of the \u003cem>Codex\u003c/em> was the white cat, and not I, even though I have always passed myself off as being the author, whereas I was merely its manual executor.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Books have an ability to transport us outside of our lives. They can take us to other times, other countries, places we might never go — from Teddy Roosevelt’s time as the Police Commissioner of New York in the non-fiction work \u003cem>Island of Vice\u003c/em> to the book-haunted Barcelona as crafted by Carlos Ruiz Zafón in his novel \u003cem>The Shadow of the Wind\u003c/em>. Books are the easiest means of space travel, whether we join Neil deGrasse Tyson in \u003cem>Space Chronicles\u003c/em> on a tour of the actual solar system or Frank Herbert to visit the imagined world of \u003cem>Dune\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_10135266\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/CodexSeraphinianus-11.jpg\" target=\"blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/CodexSeraphinianus-11-400x572.jpg\" alt=\"Cover Codex Seraphinianus by Luigi Serafini\" width=\"400\" height=\"572\" class=\"size-thumbnail wp-image-10135266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/CodexSeraphinianus-11-400x572.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/CodexSeraphinianus-11-209x300.jpg 209w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/CodexSeraphinianus-11.jpg 788w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cover, From Codex Seraphinianus by Luigi Serafini\u003c/figcaption>\u003c/figure>\n\u003cp>But even books that transport us to worlds other than our own seem to be clearly from our world. That’s not the case with the legendary work that calls itself \u003cem>Codex Seraphinianus\u003c/em>, with the byline of Italian artist and architect Luigi Serafini. The book itself is shrouded in mystery, and the content manages to capture the impossible on the printed page. It’s a book in a language that does not exist about a world that could not exist.\u003c/p>\n\u003cp>\u003cem>Codex Seraphinianus\u003c/em> is indeed real, though most who have heard of it know it more from rumor and second-hand description than actual experience. The original publication in Italy was in 1981, in two volumes; copies now fetch in the neighborhood of $5,000 to $10,000. An American version was published by Random House in one volume in 1983; one of these may set you back some $2,000 to $3,000. Even subsequent paperback copies cost $500 to $700. There’s a good reason that this book is more fable than fact in the minds of those who have come across word of it.\u003c/p>\n\u003cp>But late last year, that changed, when the author, working with Rizzoli Publishing in New York and Milan, issued a new edition, in a gorgeous, beautifully produced hardcover, with new illustrations, new “text” and even a short “De-Codex” describing the creation of this iconoclastic masterpiece. At $125, it’s a bargain, this book not only about a world that does not exist, could not exist; yes, the \u003cem>Codex Seraphinianus\u003c/em> is still clearly \u003cem>from\u003c/em> a world beyond human imagination.\u003c/p>\n\u003cfigure id=\"attachment_10135258\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/CodexSeraphinianus-3.jpg\" target=\"blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/CodexSeraphinianus-3-400x591.jpg\" alt=\"From Codex Seraphinianus by Luigi Serafini\" width=\"400\" height=\"591\" class=\"size-thumbnail wp-image-10135258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/CodexSeraphinianus-3-400x591.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/CodexSeraphinianus-3.jpg 947w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From Codex Seraphinianus by Luigi Serafini\u003c/figcaption>\u003c/figure>\n\u003cp>The book takes its cues from the most ancient encyclopedias; Pliny’s \u003cem>Nautralis Historia\u003c/em> and \u003cem>De Rerum Natura\u003c/em> by Lucretius. To accompany his surreal illustrations, Serafini created his own language, for a very specific writerly reason. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In his \u003cem>De-Codex\u003c/em>, he tells us: \u003c/p>\n\u003cblockquote>\u003cp>“The combining of a text and an image, we all know, generates a semblance of meaning, even if we understand neither the one nor the other. Do you remember how, when we were children, we’d leaf through picture books and, pretending we could read before the children older than us, fantasize about the images we saw there? Who knows, I thought to myself, unintelligible and alien writing could make us all free to experience once again those hazy childhood sensations.”\u003c/p>\u003c/blockquote>\n\u003cp>In the months and years that followed, Serafini fell into a trance of automatic writing, straight from the pages of the world of the Surrealist artists. He had to discover the nature of his own work. “One afternoon, Giorgio, a friend from college, came by with several ideas for an evening out. Lost in my thoughts, I told him I couldn’t join him because I was busy working on an encyclopedia. It was an illumination.”\u003c/p>\n\u003cfigure id=\"attachment_10135261\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/CodexSeraphinianus-6.jpg\" target=\"blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/CodexSeraphinianus-6-400x591.jpg\" alt=\"From Codex Seraphinianus by Luigi Serafini\" width=\"400\" height=\"591\" class=\"size-thumbnail wp-image-10135261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/CodexSeraphinianus-6-400x591.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/CodexSeraphinianus-6.jpg 947w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From Codex Seraphinianus by Luigi Serafini\u003c/figcaption>\u003c/figure>\n\u003cp>The author tells us in his “De-Codex” that he created the \u003cem>Codex Seraphinianus\u003c/em> with colored pencils and India ink, seated at a sawhorse, with a white cat on his shoulders. The outcome was a work of printed art, wrought in surreal anti-prose that explores the core concepts of the nature of communication and information even as it undermines reality. \u003c/p>\n\u003cp>The new edition of em>Codex Seraphinianus is large — 9 1/2″ by 13 1/2″, 396 pages, weighing more than 5 pounds — and while we’vee told that while nobody has cracked the language, the page numbering system has been deciphered. Rizzoli has printed the book on a heavy paper stock, and the images are nothing less than astonishing.\u003c/p>\n\u003cp>The intense strangeness of \u003cem>Codex Seraphinianus\u003c/em> belies the joyous feel of the artistry. Even the oddest, most unnerving images are rendered with pastel beauty, and a softness that makes them almost endearing. The abundant text confers an authority to the illustrations. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Serafini’s surreal imagination embraces a logic that is just beyond our grasp, and the experience of reading this book is utterly unique. There is – there \u003cem>can be\u003c/em> – nothing like it. In \u003cem>De-Codex\u003c/em>, Serafini explains this quite handily: “I must confess that the true author of the \u003cem>Codex\u003c/em> was the white cat, and not I, even though I have always passed myself off as being the author, whereas I was merely its manual executor.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Nearly 15 years ago, bestselling author Francine Prose spied an intriguing photograph at a museum exhibit. One of the subjects of the photo was a cross-dressing woman named Violette Morris, a lesbian professional auto racer who worked for the Gestapo during WWII. The photo — and Morris’ life story — \u003ca href=\"http://www.kqed.org/epArchive/R201405141000?pid=RD19\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://www.kqed.org/epArchive/R201405141000?pid=RD19\" target=\"_self\" title=\"A Trip to 1930s Paris With Author Francine Prose\" rel=\"noopener\">Forum Books\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nearly 15 years ago, bestselling author Francine Prose spied an intriguing photograph at a museum exhibit. One of the subjects of the photo was a cross-dressing woman named Violette Morris, a lesbian professional auto racer who worked for the Gestapo during WWII. The photo — and Morris’ life story — \u003ca href=\"http://www.kqed.org/epArchive/R201405141000?pid=RD19\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://www.kqed.org/epArchive/R201405141000?pid=RD19\" target=\"_self\" title=\"A Trip to 1930s Paris With Author Francine Prose\" rel=\"noopener\">Forum Books\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "3 Out of Print Books You Need to Get Your Hands On",
"title": "3 Out of Print Books You Need to Get Your Hands On",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cfigure id=\"attachment_12117\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/05/13/3-out-of-print-books-you-need-to-get-your-hands-on/old-books/\" rel=\"attachment wp-att-12117\">\u003cimg class=\"size-full wp-image-12117\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/05/old-books.jpg\" alt=\"Photo: library_mistress, via Flickr\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/05/old-books.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/05/old-books-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"https://www.flickr.com/photos/library_mistress/525385509/\">library_mistress\u003c/a>, via Flickr\u003c/figcaption>\u003c/figure>\n\u003cp>In last Sunday's \u003cem>New York Times Magazine\u003c/em>, Steve Almond \u003ca href=\"http://www.nytimes.com/2014/05/11/magazine/you-should-seriously-read-stoner-right-now.html\">writes beautifully\u003c/a> about the novel \u003cem>Stoner\u003c/em> by John Williams, a book that has gone out of print twice since 1965, and sold an impressively meager 2,000 copies in its first printing. In addition to inspiring me to rush out and immediately read \u003cem>Stoner\u003c/em>, Almond's article also got me thinking about how some of my very favorite books are ones that went out of print, and then luckily found their way back into the world again.\u003c/p>\n\u003cp>While I'm sure there are plenty of lost books whose disappearance is not a terrible tragedy, it fascinates me to think of the reasons why certain gems are not appreciated at first. Whether because of harsh critics, the trends and inclinations of the era, the fickle proclivities of the reader, the lackluster support of a publisher, or something else entirely, a novel falls out of favor or slips into obscurity. And what brings it back? Why are we ready later rather than sooner?\u003c/p>\n\u003cp>In the spirit of Almond's \"besotted\" praise of \u003cem>Stoner\u003c/em>\u003cem>, \u003c/em>I want to revisit some of my favorite books that have risen from their premature graves.\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2014/05/13/3-out-of-print-books-you-need-to-get-your-hands-on/_57/\" rel=\"attachment wp-att-12119\">\u003cimg class=\"alignleft wp-image-12119\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/05/57.jpg\" alt=\"$_57\" width=\"233\" height=\"300\">\u003c/a>\u003c/p>\n\u003cp>First up, \u003cem>The Changeling \u003c/em>by the incomparable \u003ca href=\"https://www.byliner.com/read/joy-williams/99-stories-of-god\">Joy Williams\u003c/a>. A scathing review arguably killed Williams's second novel when it was published in 1978, and it subsequently went out of print. \u003ca href=\"http://artsbeat.blogs.nytimes.com/2008/04/21/joy-williamss-30-year-old-comeback-novel/?_php=true&_type=blogs&_r=0\">Thirty years later\u003c/a>, Fairy Tale Review Press published this dark, bizarre, wonderful novel to a more receptive audience. In his introduction to the new edition, Rick Moody writes, \"Thirty years later, the situation looks quite different...the tectonic movements of [Williams's] paragraphs and her narratives no longer looks impulsive, if indeed it ever did. Now it looks like originality.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That's the thing about Joy Williams; there is no one even close to similar. I once heard her say she channels spirit messengers, and her work reads as if that were very true. If you haven't read her, please do so right now. Admittedly, you might not want to start with \u003cem>The Changeling\u003c/em>, as it helps to be a bit in love already before you tackle this one. \u003ci>Escapes\u003c/i> is a good introduction. Become besotted, and then move on to this strange specimen of a second novel. Moody suggests that maybe the late '70s, with its \"punk rock nihilism and...Studio 54 fatuousness\" wasn't the time for this kind of tale. Thankfully, perhaps now is the right time?\u003c/p>\n\u003cp>\u003cstrong>Sample line:\u003c/strong> \"There is no room in life for decorum! At times it is necessary to expose the skeleton within us, to make manifest the death within us.\"\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2014/05/13/3-out-of-print-books-you-need-to-get-your-hands-on/paula_fox/\" rel=\"attachment wp-att-12120\">\u003cimg class=\"alignright size-full wp-image-12120\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/05/paula_fox.jpg\" alt=\"paula_fox\" width=\"169\" height=\"259\">\u003c/a>\u003c/p>\n\u003cp>Next up, \u003cem>Desperate Characters, \u003c/em>by \u003ca href=\"http://www.nytimes.com/2001/03/04/magazine/the-life-and-death-and-life-of-paula-fox.html\">Paula Fox\u003c/a> (also known for being Courtney Love's biological grandmother!). Published in 1970 to critical praise, it still ended up out of print. Also a second novel, \u003cem>Desperate Characters\u003c/em> is a slim, taut, mysterious book filled with a slow building desperation that is creepy, thrilling and hard to summarize.\u003c/p>\n\u003cp>Jonathan Franzen fell in love with the novel in the library at \u003ca href=\"http://www.yaddo.org/\">Yaddo\u003c/a>, but, when he went to buy his own copy, discovered it was out of print. He wasn't having it, and proceeded to make all sorts of awesome declarations about Fox being a better writer than John Updike and all of her other famous male counterparts. He also wrote an ode to the novel in \u003cem>Harper's,\u003c/em> which finally got the attention of an editor at W.W. Norton.\u003c/p>\n\u003cp>It seems profound to consider the implications of a novel written during one period of time being reintroduced into the context of a new time and being perhaps even more significant. Franzen writes in his introduction: \"\u003cem>Desperate Characters \u003c/em>is a novel in revolt against its own perfection. The questions it raises are radical and unpleasant. What is the point of meaning -- especially literary meaning -- in a rabid modern world? Why bother creating and preserving order if civilization is every bit as killing as the anarchy to which it's opposed? Why not be rabid? Why torment ourselves with books?\" These questions seem all the more pressing today, as a new set of readers gets the opportunity to read this fantastic book.\u003c/p>\n\u003cp>\u003cstrong>Sample line: \u003c/strong>\"[She] felt an extraordinary relief as though, at last, she'd discovered what it was that could create a balance between the quiet, rather vacant progression of the days she spent in this house, and those portents that lit up the dark at the edge of her own existence.\"\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2014/05/13/3-out-of-print-books-you-need-to-get-your-hands-on/b4ef9330dca0884bb9f02010-l/\" rel=\"attachment wp-att-12121\">\u003cimg class=\"alignleft wp-image-12121\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/05/b4ef9330dca0884bb9f02010.L.jpg\" alt=\"b4ef9330dca0884bb9f02010.L\" width=\"212\" height=\"300\">\u003c/a>\u003c/p>\n\u003cp>When I spent a week at the \u003ca href=\"http://www.tinhouse.com/blog/30661/2014-summer-writers-workshop-faculty-announcement.html\">Tin House Summer Writer's Workshop\u003c/a>, it was in large part due to my love of the not-as-prolific-as-I-wish-he-was genius Charles D'Ambrosio. His impeccably crafted \u003ca href=\"http://www.newyorker.com/archive/2004/10/11/041011fi_fiction\">short stories\u003c/a> in \u003cem>The Dead Fish Museum\u003c/em> and \u003cem>The Point \u003c/em>are some of my favorites. But his essay collection \u003cem>Orphans\u003c/em> is the book I keep sitting on my desk at all times to remind myself of what it means to be a writer.\u003c/p>\n\u003cp>From a police stake-out to a hell house to a suicide note, D'Ambrosio finds ways to describe the world that I have never heard before, in turns exacting and lush with feeling. The book itself is a beautiful object, very small, with a ribbon book mark. Now out of print, it's a crapshoot whether you can find it online for $13 or $300.\u003c/p>\n\u003cp>When I nervously stood in line to have D'Ambrosio sign my copy at Tin House, he looked surprised to see it and asked, \"Where did you find this little thing? I thought all the copies of it were in my garage.\" Now, thankfully, not only will the essays of \u003cem>Orphans\u003c/em> be available outside of his garage, but D'Ambrosio has new work to share as well. In November, Tin House Books will publish \u003cem>\u003ca href=\"http://www.oregonlive.com/books/index.ssf/2014/03/tin_house_books_will_publish_t.html\">Loitering: New & Collected Essays\u003c/a>\u003c/em>,\u003cem> \u003c/em>which will include all of the eleven essays in \u003cem>Orphans. \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Sample line: \u003c/strong>\" The difference between the truth and a cliche is the difference between what we really know and what we've all heard about.\"\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In his praise of \u003cem>Stoner\u003c/em>, Almond writes, \"As a fictional hero, William Stoner will have to dwell in obscurity forever. But that, too, is our destiny. Our most profound acts of virtue and vice, of heroism and villainy, will be known by only those closest to us and forgotten soon enough. Even our deepest feelings will, for the most part, lay concealed within the vault of our hearts.\" Almond says the truest literary critic is time. And perhaps for many of our books that disappear for a while and then return to us, time is insisting we re-examine what at first appeared too complicated, too quiet, too irrelevant. If our deepest feelings lay concealed within the vault of our hearts, perhaps some of these books that persist over the years to reveal themselves to us again, also reveal to us a new part of ourselves.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_12117\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/05/13/3-out-of-print-books-you-need-to-get-your-hands-on/old-books/\" rel=\"attachment wp-att-12117\">\u003cimg class=\"size-full wp-image-12117\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/05/old-books.jpg\" alt=\"Photo: library_mistress, via Flickr\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/05/old-books.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/05/old-books-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"https://www.flickr.com/photos/library_mistress/525385509/\">library_mistress\u003c/a>, via Flickr\u003c/figcaption>\u003c/figure>\n\u003cp>In last Sunday's \u003cem>New York Times Magazine\u003c/em>, Steve Almond \u003ca href=\"http://www.nytimes.com/2014/05/11/magazine/you-should-seriously-read-stoner-right-now.html\">writes beautifully\u003c/a> about the novel \u003cem>Stoner\u003c/em> by John Williams, a book that has gone out of print twice since 1965, and sold an impressively meager 2,000 copies in its first printing. In addition to inspiring me to rush out and immediately read \u003cem>Stoner\u003c/em>, Almond's article also got me thinking about how some of my very favorite books are ones that went out of print, and then luckily found their way back into the world again.\u003c/p>\n\u003cp>While I'm sure there are plenty of lost books whose disappearance is not a terrible tragedy, it fascinates me to think of the reasons why certain gems are not appreciated at first. Whether because of harsh critics, the trends and inclinations of the era, the fickle proclivities of the reader, the lackluster support of a publisher, or something else entirely, a novel falls out of favor or slips into obscurity. And what brings it back? Why are we ready later rather than sooner?\u003c/p>\n\u003cp>In the spirit of Almond's \"besotted\" praise of \u003cem>Stoner\u003c/em>\u003cem>, \u003c/em>I want to revisit some of my favorite books that have risen from their premature graves.\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2014/05/13/3-out-of-print-books-you-need-to-get-your-hands-on/_57/\" rel=\"attachment wp-att-12119\">\u003cimg class=\"alignleft wp-image-12119\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/05/57.jpg\" alt=\"$_57\" width=\"233\" height=\"300\">\u003c/a>\u003c/p>\n\u003cp>First up, \u003cem>The Changeling \u003c/em>by the incomparable \u003ca href=\"https://www.byliner.com/read/joy-williams/99-stories-of-god\">Joy Williams\u003c/a>. A scathing review arguably killed Williams's second novel when it was published in 1978, and it subsequently went out of print. \u003ca href=\"http://artsbeat.blogs.nytimes.com/2008/04/21/joy-williamss-30-year-old-comeback-novel/?_php=true&_type=blogs&_r=0\">Thirty years later\u003c/a>, Fairy Tale Review Press published this dark, bizarre, wonderful novel to a more receptive audience. In his introduction to the new edition, Rick Moody writes, \"Thirty years later, the situation looks quite different...the tectonic movements of [Williams's] paragraphs and her narratives no longer looks impulsive, if indeed it ever did. Now it looks like originality.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That's the thing about Joy Williams; there is no one even close to similar. I once heard her say she channels spirit messengers, and her work reads as if that were very true. If you haven't read her, please do so right now. Admittedly, you might not want to start with \u003cem>The Changeling\u003c/em>, as it helps to be a bit in love already before you tackle this one. \u003ci>Escapes\u003c/i> is a good introduction. Become besotted, and then move on to this strange specimen of a second novel. Moody suggests that maybe the late '70s, with its \"punk rock nihilism and...Studio 54 fatuousness\" wasn't the time for this kind of tale. Thankfully, perhaps now is the right time?\u003c/p>\n\u003cp>\u003cstrong>Sample line:\u003c/strong> \"There is no room in life for decorum! At times it is necessary to expose the skeleton within us, to make manifest the death within us.\"\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2014/05/13/3-out-of-print-books-you-need-to-get-your-hands-on/paula_fox/\" rel=\"attachment wp-att-12120\">\u003cimg class=\"alignright size-full wp-image-12120\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/05/paula_fox.jpg\" alt=\"paula_fox\" width=\"169\" height=\"259\">\u003c/a>\u003c/p>\n\u003cp>Next up, \u003cem>Desperate Characters, \u003c/em>by \u003ca href=\"http://www.nytimes.com/2001/03/04/magazine/the-life-and-death-and-life-of-paula-fox.html\">Paula Fox\u003c/a> (also known for being Courtney Love's biological grandmother!). Published in 1970 to critical praise, it still ended up out of print. Also a second novel, \u003cem>Desperate Characters\u003c/em> is a slim, taut, mysterious book filled with a slow building desperation that is creepy, thrilling and hard to summarize.\u003c/p>\n\u003cp>Jonathan Franzen fell in love with the novel in the library at \u003ca href=\"http://www.yaddo.org/\">Yaddo\u003c/a>, but, when he went to buy his own copy, discovered it was out of print. He wasn't having it, and proceeded to make all sorts of awesome declarations about Fox being a better writer than John Updike and all of her other famous male counterparts. He also wrote an ode to the novel in \u003cem>Harper's,\u003c/em> which finally got the attention of an editor at W.W. Norton.\u003c/p>\n\u003cp>It seems profound to consider the implications of a novel written during one period of time being reintroduced into the context of a new time and being perhaps even more significant. Franzen writes in his introduction: \"\u003cem>Desperate Characters \u003c/em>is a novel in revolt against its own perfection. The questions it raises are radical and unpleasant. What is the point of meaning -- especially literary meaning -- in a rabid modern world? Why bother creating and preserving order if civilization is every bit as killing as the anarchy to which it's opposed? Why not be rabid? Why torment ourselves with books?\" These questions seem all the more pressing today, as a new set of readers gets the opportunity to read this fantastic book.\u003c/p>\n\u003cp>\u003cstrong>Sample line: \u003c/strong>\"[She] felt an extraordinary relief as though, at last, she'd discovered what it was that could create a balance between the quiet, rather vacant progression of the days she spent in this house, and those portents that lit up the dark at the edge of her own existence.\"\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2014/05/13/3-out-of-print-books-you-need-to-get-your-hands-on/b4ef9330dca0884bb9f02010-l/\" rel=\"attachment wp-att-12121\">\u003cimg class=\"alignleft wp-image-12121\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/05/b4ef9330dca0884bb9f02010.L.jpg\" alt=\"b4ef9330dca0884bb9f02010.L\" width=\"212\" height=\"300\">\u003c/a>\u003c/p>\n\u003cp>When I spent a week at the \u003ca href=\"http://www.tinhouse.com/blog/30661/2014-summer-writers-workshop-faculty-announcement.html\">Tin House Summer Writer's Workshop\u003c/a>, it was in large part due to my love of the not-as-prolific-as-I-wish-he-was genius Charles D'Ambrosio. His impeccably crafted \u003ca href=\"http://www.newyorker.com/archive/2004/10/11/041011fi_fiction\">short stories\u003c/a> in \u003cem>The Dead Fish Museum\u003c/em> and \u003cem>The Point \u003c/em>are some of my favorites. But his essay collection \u003cem>Orphans\u003c/em> is the book I keep sitting on my desk at all times to remind myself of what it means to be a writer.\u003c/p>\n\u003cp>From a police stake-out to a hell house to a suicide note, D'Ambrosio finds ways to describe the world that I have never heard before, in turns exacting and lush with feeling. The book itself is a beautiful object, very small, with a ribbon book mark. Now out of print, it's a crapshoot whether you can find it online for $13 or $300.\u003c/p>\n\u003cp>When I nervously stood in line to have D'Ambrosio sign my copy at Tin House, he looked surprised to see it and asked, \"Where did you find this little thing? I thought all the copies of it were in my garage.\" Now, thankfully, not only will the essays of \u003cem>Orphans\u003c/em> be available outside of his garage, but D'Ambrosio has new work to share as well. In November, Tin House Books will publish \u003cem>\u003ca href=\"http://www.oregonlive.com/books/index.ssf/2014/03/tin_house_books_will_publish_t.html\">Loitering: New & Collected Essays\u003c/a>\u003c/em>,\u003cem> \u003c/em>which will include all of the eleven essays in \u003cem>Orphans. \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Sample line: \u003c/strong>\" The difference between the truth and a cliche is the difference between what we really know and what we've all heard about.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In his praise of \u003cem>Stoner\u003c/em>, Almond writes, \"As a fictional hero, William Stoner will have to dwell in obscurity forever. But that, too, is our destiny. Our most profound acts of virtue and vice, of heroism and villainy, will be known by only those closest to us and forgotten soon enough. Even our deepest feelings will, for the most part, lay concealed within the vault of our hearts.\" Almond says the truest literary critic is time. And perhaps for many of our books that disappear for a while and then return to us, time is insisting we re-examine what at first appeared too complicated, too quiet, too irrelevant. If our deepest feelings lay concealed within the vault of our hearts, perhaps some of these books that persist over the years to reveal themselves to us again, also reveal to us a new part of ourselves.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
"closealltabs": {
"id": "closealltabs",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
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"meta": {
"site": "radio",
"source": "WNYC"
},
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"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
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"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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