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"content": "\u003cp>There are some stories that get under your skin and into your psyche and they change everything. For Eve Ensler, activist and playwright best known for \u003ci>The Vagina Monologues\u003c/i>, one such story caused her to lose faith in humanity. It marked the beginning of her journey into the world of cancer. How you interpret Eve Ensler’s new memoir, \u003ci>In the Body of the World\u003c/i>, depends on how much power you think stories have. Did Ensler’s uterine cancer come from hearing so many stories of rape and violence, stories that inhabited her body, got under her skin? Did it come from the environment?\u003c/p>\n\u003cp>A chapter titled “How’d I Get It?” broadens this question and collapses it in humor:\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\n\u003cp>Was it turquoise Popsicles?\u003cbr>Was it Epstein-Barr?\u003cbr>Was it in my blood?\u003cbr>Was it already decided?\u003cbr>Was it deet?\u003cbr>Was it that I didn’t cry enough?\u003cbr>Or cried too much?\u003cbr>Was it promiscuous sex?\u003cbr>All those arrests at nuclear power plants?\u003cbr>Sleeping in radioactive dust?\u003cbr>Was it my IUD?\u003cbr>Was it birth control pills?\u003cbr>Was it not enough boundaries?\u003cbr>Was it too many walls?\u003c/p>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003ci>In the Body of the World\u003c/i> is an intriguing meditation on illness and the power of stories, itself artfully wrapped around the thirteen-year-old conflict of one country — the Democratic Republic of Congo — and \u003ca href=\"http://www.guardian.co.uk/world/2013/apr/11/congo-rapes-g8-soldier\">her persecuted women\u003c/a>. In the introduction of this book Ensler describes how her father’s sexual abuse caused her to become disassociated from her body, and how this exile made her hunger for other women’s stories (stories about abuse and endurance), because she saw these stories as a way back home to her body. That is how Ensler finds herself in the Congo, where the atrocities committed against women do not bring her home, but rather cause despair.\u003c/p>\n\u003cp>It is cancer, actually, that reveals a way home: “Cancer,” she writes, “threw me through the window of my disassociation into the center of my body’s crisis. The Congo threw me deep into the crisis of the world, and these two experiences merged as I faced the disease and what I felt was the beginning of the end.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This memoir is written in brief chapters called “scans”, as Ensler scrutinizes several moments from her illness and the process of building City of Joy — a UNICEF-supported place for female victims of gender violence in the Congo. Ensler wrote the “scans” while submitting her body to CAT scans. Actually, many things in this book hold parallels with Eve Ensler’s body — humankind denying climate change and Ensler denying the signs of cancer in her body; the BP oil spill poisoning the Gulf Coast at the same time an internal abscess spilled pus into Ensler’s body; Congolese women suffering from damaged sexual organs because of rape and Ensler’s sexual organs suffering the same damage because of cancer. Even the doctors are surprised at that last one.\u003c/p>\n\u003cp>Ensler explains, “Cells of endometrial (uterine) cancer had created a tumor between the vagina and the bowel and had ‘fistulated’ the rectum. Essentially, the cancer had done exactly what rape had done to so many thousands of women in the Congo.” One of Ensler’s doctors e-mails another saying he had been unable to sleep because of the mystery of what they had found. He wrote, “These findings are not medical, they are not science. They are spiritual.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/05/19/bodyoftheworldcover.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>Ensler’s cleverness shines in these leaping parallels, which gather profundity as the narrative builds. There is a sense of Ensler directly speaking to the reader, a trait that can be either effective or obstructive. At the moment of finding out there are tumors in her uterus, colon, and rectum, for example, the writing is flat and matter of fact: “It is bad news. The worst news. This is the worst day of my life. This is the day I am told I am going to die. My heart is racing.” But a few paragraphs below the writing gathers a lucid patina of grief, “Then a calm comes over me, the same calm that used to descend as I approached a beating by my father. I am calm. I am not panicked. I am going to die. This is the beginning of the end.”\u003c/p>\n\u003cp>Although the writing is times uneven, Ensler’s compassionate view into the Congo and the prowess of her poetic mind carry this book to surprising conclusions. Reading the book is like taking a journey alongside Ensler to near-death and back. Along the way, Ensler’s capacity for poetry never disappoints. To Ensler, her tumor is not a tumor but a flesh monument. “Huge and round,” she writes. “A taut ball of cellular yarn spun out of the stories of women, made of tears, silent screams, rocking torsos, and the particular loneliness of violence. A flesh creature birthed out of the secrets of brutality, each blood vessel a ribbon of story. My body has been sculpting this tumor for years, molding the pieces of pain, the clay residue of memories.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Eve Ensler will be reading from \u003ci>In the Body of the World\u003c/i> on May 20, 7:30pm at First Congregational Church in Oakland, and on May 21, 7:00pm, at Grace Cathedral in San Francisco. For more information visit \u003ca href=\"http://www.pegasusbookstore.com/event/eve-ensler-first-congregational-church\">Pegasus Books\u003c/a> and \u003ca href=\"http://www.booksinc.net/event/eve-ensler-grace-cathedral\">Books Inc.\u003c/a>\u003ci>In the Body of the World\u003c/i> is \u003ca href=\"http://www.indiebound.org/book/9780805095180\">on sale\u003c/a> now.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This memoir is written in brief chapters called “scans”, as Ensler scrutinizes several moments from her illness and the process of building City of Joy — a UNICEF-supported place for female victims of gender violence in the Congo. Ensler wrote the “scans” while submitting her body to CAT scans. Actually, many things in this book hold parallels with Eve Ensler’s body — humankind denying climate change and Ensler denying the signs of cancer in her body; the BP oil spill poisoning the Gulf Coast at the same time an internal abscess spilled pus into Ensler’s body; Congolese women suffering from damaged sexual organs because of rape and Ensler’s sexual organs suffering the same damage because of cancer. Even the doctors are surprised at that last one.\u003c/p>\n\u003cp>Ensler explains, “Cells of endometrial (uterine) cancer had created a tumor between the vagina and the bowel and had ‘fistulated’ the rectum. Essentially, the cancer had done exactly what rape had done to so many thousands of women in the Congo.” One of Ensler’s doctors e-mails another saying he had been unable to sleep because of the mystery of what they had found. He wrote, “These findings are not medical, they are not science. They are spiritual.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/05/19/bodyoftheworldcover.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>Ensler’s cleverness shines in these leaping parallels, which gather profundity as the narrative builds. There is a sense of Ensler directly speaking to the reader, a trait that can be either effective or obstructive. At the moment of finding out there are tumors in her uterus, colon, and rectum, for example, the writing is flat and matter of fact: “It is bad news. The worst news. This is the worst day of my life. This is the day I am told I am going to die. My heart is racing.” But a few paragraphs below the writing gathers a lucid patina of grief, “Then a calm comes over me, the same calm that used to descend as I approached a beating by my father. I am calm. I am not panicked. I am going to die. This is the beginning of the end.”\u003c/p>\n\u003cp>Although the writing is times uneven, Ensler’s compassionate view into the Congo and the prowess of her poetic mind carry this book to surprising conclusions. Reading the book is like taking a journey alongside Ensler to near-death and back. Along the way, Ensler’s capacity for poetry never disappoints. To Ensler, her tumor is not a tumor but a flesh monument. “Huge and round,” she writes. “A taut ball of cellular yarn spun out of the stories of women, made of tears, silent screams, rocking torsos, and the particular loneliness of violence. A flesh creature birthed out of the secrets of brutality, each blood vessel a ribbon of story. My body has been sculpting this tumor for years, molding the pieces of pain, the clay residue of memories.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Eve Ensler will be reading from \u003ci>In the Body of the World\u003c/i> on May 20, 7:30pm at First Congregational Church in Oakland, and on May 21, 7:00pm, at Grace Cathedral in San Francisco. For more information visit \u003ca href=\"http://www.pegasusbookstore.com/event/eve-ensler-first-congregational-church\">Pegasus Books\u003c/a> and \u003ca href=\"http://www.booksinc.net/event/eve-ensler-grace-cathedral\">Books Inc.\u003c/a>\u003ci>In the Body of the World\u003c/i> is \u003ca href=\"http://www.indiebound.org/book/9780805095180\">on sale\u003c/a> now.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>You may have already heard about San Francisco author Caroline Paul’s new book \u003ca href=\"http://lostcatbook.com/\">\u003ci>Lost Cat\u003c/i>\u003c/a> on a recent episode of KQED’s \u003ca href=\"http://www.kqed.org/a/forum/R201304101000\">Forum\u003c/a>. Or you might have heard of it through mentions by media outlets such as \u003ci>The New York Times\u003c/i>, who recently called 2013 \u003ca href=\"http://www.nytimes.com/2013/04/28/fashion/the-year-of-the-cat-books-of-style.html?_r=0\">The Year of the Cat\u003c/a>. Cats are famous these days, from the internet, to literature, to \u003ca href=\"http://www.oaklandcatvidfest.com/\">film festivals\u003c/a>, and \u003ci>Lost Cat\u003c/i> is a nice, psychologically-charged gem of a story to add to the mix.\u003c/p>\n\u003cp>When I started reading \u003ci>Lost Cat\u003c/i>, I immediately realized it was more than just a story about trying to find out where cats go when they’re off on their own. Paul was recovering from a serious injury when her beloved cat Tibby disappeared for five weeks, before returning with a completely new attitude. The author went to extreme lengths to figure out what he’d been up to. Running parallel to the narrative of Paul’s obsession with Tibby is the story of her new (human) relationship, forming a complex tale about love between both people and pets.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter> \u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/04/30/lostcat2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>The story has unique characters described in detail by Paul and illustrated by her partner, Wendy MacNaughton. MacNaughton is one of our favorite local illustrators, you might recognize her work from \u003ca href=\"http://therumpus.net/author/wendy-macnaughton/\">The Rumpus\u003c/a> or our recent \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=118704\">studio visit\u003c/a>. Her signature journalistic illustrations are the perfect match for Paul’s wry tone. The illustrations are subtle and frequent, adding richness and color to the emotion and humor of the story.\u003c/p>\n\u003cp>\u003ci>Lost Cat\u003c/i> brings up unexpected debates, like the argument about indoor vs. outdoor cats, what it means to be a crazy cat person now that 90% of the world seems to be crazy about cats, and whether cats have true relationships with their owners beyond the cat chow. Paul’s incessant obsession with her furry pal’s whereabouts and her feelings of being snubbed by him will speak to any pet owner. And her raw, revealing portrait of herself and her relationships is completely relatable. \u003ci>Lost Cat\u003c/i> emphasizes that life is hard, but life with the right cats (and people) is full of mystery and wonder.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You may have already heard about San Francisco author Caroline Paul’s new book \u003ca href=\"http://lostcatbook.com/\">\u003ci>Lost Cat\u003c/i>\u003c/a> on a recent episode of KQED’s \u003ca href=\"http://www.kqed.org/a/forum/R201304101000\">Forum\u003c/a>. Or you might have heard of it through mentions by media outlets such as \u003ci>The New York Times\u003c/i>, who recently called 2013 \u003ca href=\"http://www.nytimes.com/2013/04/28/fashion/the-year-of-the-cat-books-of-style.html?_r=0\">The Year of the Cat\u003c/a>. Cats are famous these days, from the internet, to literature, to \u003ca href=\"http://www.oaklandcatvidfest.com/\">film festivals\u003c/a>, and \u003ci>Lost Cat\u003c/i> is a nice, psychologically-charged gem of a story to add to the mix.\u003c/p>\n\u003cp>When I started reading \u003ci>Lost Cat\u003c/i>, I immediately realized it was more than just a story about trying to find out where cats go when they’re off on their own. Paul was recovering from a serious injury when her beloved cat Tibby disappeared for five weeks, before returning with a completely new attitude. The author went to extreme lengths to figure out what he’d been up to. Running parallel to the narrative of Paul’s obsession with Tibby is the story of her new (human) relationship, forming a complex tale about love between both people and pets.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter> \u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/04/30/lostcat2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>The story has unique characters described in detail by Paul and illustrated by her partner, Wendy MacNaughton. MacNaughton is one of our favorite local illustrators, you might recognize her work from \u003ca href=\"http://therumpus.net/author/wendy-macnaughton/\">The Rumpus\u003c/a> or our recent \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=118704\">studio visit\u003c/a>. Her signature journalistic illustrations are the perfect match for Paul’s wry tone. The illustrations are subtle and frequent, adding richness and color to the emotion and humor of the story.\u003c/p>\n\u003cp>\u003ci>Lost Cat\u003c/i> brings up unexpected debates, like the argument about indoor vs. outdoor cats, what it means to be a crazy cat person now that 90% of the world seems to be crazy about cats, and whether cats have true relationships with their owners beyond the cat chow. Paul’s incessant obsession with her furry pal’s whereabouts and her feelings of being snubbed by him will speak to any pet owner. And her raw, revealing portrait of herself and her relationships is completely relatable. \u003ci>Lost Cat\u003c/i> emphasizes that life is hard, but life with the right cats (and people) is full of mystery and wonder.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ci>The End of San Francisco\u003c/i>, out by City Lights last month, is Mattilda Bernstein Sycamore’s potent memoir about longing: longing for good sex, meaningful relationships, a father’s admission of sexual abuse, an LGBT community that supports and questions itself, and most longing for release. The most surprising truth in this memoir is the crux of Sycamore’s appetite — her appetite for seamless belonging is equally matched by an agitated addiction to pursue and lose herself in her ecstasies, a road that she dutifully travels each time only to discover that her ecstasies are ephemeral and haunting.\u003c/p>\n\u003cp>Written in nine parts, \u003ci>The End of San Francisco\u003c/i> is a conversational, disordered account of the author’s anxiety-riddled childhood, her sexual encounters, and a life of clubbing, partying, and stirring activism. The writing is urgent, poignant, high-pitched, then expository. But it is this unevenness that makes the book sound more like an authentic monologue: Sycamore alternately purring in your ear, yelling in your face, or sedately stating the intricacies and repressions she sees in the LGBT community.\u003c/p>\n\u003cp>The first part of the book is harrowing, as Sycamore shares her charged return home. To Sycamore, home is a place of exile. Her family calls her “Matthew” — there is a layer of terror to the telling. She is there to confront her father, who is heavily medicated and on his deathbed, to ask him once again to admit to the sexual abuse. It is unclear how much is getting through to her father and there is no answer on his part. Sycamore writes, “then there are so many layers to my sobbing: there’s holding the chest while spasming anyway; there’s tears gliding smoothly down skin; there’s tears in eyes, face, inside everything.”\u003c/p>\n\u003cp>This book is filled with sounds of the 1990s club scene. Some of the most beautiful writing is on the experience of dancing, perhaps heightened by the fact that Sycamore suffers from fibromyalgia, making it sometimes painful to dance. Here is Cajmere’s “Brighter Days,” which I recommend you listen to as you read Sycamore’s writing on the experience of dancing to it just beneath:\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=OSusQJPHRzA?rel=0&w=480&h=270]\u003c/p>\n\u003cp>“Screaming when the beat got knock-you-down over-whelming and breathe-deep soothing at the same time or that sample came at the exact moment when you couldn’t possibly handle it or just because you saw the wrong person at the right time or the right person at the wrong time or because there was something missing I mean there was nothing missing for just that moment with the sweat pouring down your face your eyes bringing the beat into your body your body taking it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sycamore came to San Francisco in the 1990s, a budding queer activist and part, she writes, “of a whole generation of queers who came to San Francisco to try and cope.” Sycamore was seeking to join something of a queer utopia in San Francisco, but found it lacking, which made her up and move to New York, then Seattle, then San Francisco again, and Seattle again. To this reader it seems that she was on a quest for what she describes elsewhere as “transcendence through an engagement with gestures of public desire.” The end of that road is a sobering one, as Sycamore loses her hope for transcendence both in the bedroom and in San Francisco: “I understand why so many […] give up hoping that sex will become anything other than something lost, over and over again this loss or maybe I mean lack, this sense that something is lacking and some people go to great lengths to keep it that way. Others just follow the rules, and the rest of us slowly lose our sense that sex will ever illuminate anything.”\u003c/p>\n\u003cp>For Sycamore, the San Francisco of her mythology, the place where queerness and activism and otherness could thrive, is over. \u003ci>The End of San Francisco\u003c/i> could be the most insightful break-up memoir the city has ever received.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mattilda Bernstein Sycamore will be reading from \u003ci>The End of San Francisco\u003c/i> on April 30, 7:00pm at City Lights Bookstore in San Francisco, and on May 2nd, 7:30pm, at Pegasus Bookstore in Berkeley. For more information, visit \u003ca href=\"http://www.citylights.com/\">City Lights\u003c/a> and \u003ca href=\"http://www.pegasusbookstore.com/\">Pegasus Books\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sycamore came to San Francisco in the 1990s, a budding queer activist and part, she writes, “of a whole generation of queers who came to San Francisco to try and cope.” Sycamore was seeking to join something of a queer utopia in San Francisco, but found it lacking, which made her up and move to New York, then Seattle, then San Francisco again, and Seattle again. To this reader it seems that she was on a quest for what she describes elsewhere as “transcendence through an engagement with gestures of public desire.” The end of that road is a sobering one, as Sycamore loses her hope for transcendence both in the bedroom and in San Francisco: “I understand why so many […] give up hoping that sex will become anything other than something lost, over and over again this loss or maybe I mean lack, this sense that something is lacking and some people go to great lengths to keep it that way. Others just follow the rules, and the rest of us slowly lose our sense that sex will ever illuminate anything.”\u003c/p>\n\u003cp>For Sycamore, the San Francisco of her mythology, the place where queerness and activism and otherness could thrive, is over. \u003ci>The End of San Francisco\u003c/i> could be the most insightful break-up memoir the city has ever received.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mattilda Bernstein Sycamore will be reading from \u003ci>The End of San Francisco\u003c/i> on April 30, 7:00pm at City Lights Bookstore in San Francisco, and on May 2nd, 7:30pm, at Pegasus Bookstore in Berkeley. For more information, visit \u003ca href=\"http://www.citylights.com/\">City Lights\u003c/a> and \u003ca href=\"http://www.pegasusbookstore.com/\">Pegasus Books\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I do have a literary break-up story, but it wasn’t a book that turned me away from a person — it was the other way around. A boy once asked me out by giving me a Basquiat biography. Our first kiss was oddly unappetizing. We awkwardly said goodbye and then avoided each other for days until I finally broke things off. Since then, every time I see a \u003ca href=\"http://en.wikipedia.org/wiki/Basquiat\">Basquiat\u003c/a>-anything I remember that very bad kiss (\u003ci>sorry, I hope you never read this\u003c/i>) and run the other way.\u003c/p>\n\u003cp> Please \u003ca href=\"mailto:sexy.unsexy.books@gmail.com\">send us your photos\u003c/a> (love/break-up stories voluntary) and in the meantime, feast your eyes on this (highly biased) collection of love and break-up books. (Press fullscreen and ‘show info’ to see which is which.):\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"400\" height=\"300\">\u003cparam name=\"flashvars\" value=\"offsite=true&lang=en-us&page_show_url=%2Fphotos%2Fingrid_rojas_c%2Fsets%2F72157632725046121%2Fshow%2F&page_show_back_url=%2Fphotos%2Fingrid_rojas_c%2Fsets%2F72157632725046121%2F&set_id=72157632725046121&jump_to=\">\u003cparam name=\"movie\" value=\"http://www.flickr.com/apps/slideshow/show.swf?v=124984\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cembed type=\"application/x-shockwave-flash\" src=\"http://www.flickr.com/apps/slideshow/show.swf?v=124984\" allowfullscreen=\"true\" flashvars=\"offsite=true&lang=en-us&page_show_url=%2Fphotos%2Fingrid_rojas_c%2Fsets%2F72157632725046121%2Fshow%2F&page_show_back_url=%2Fphotos%2Fingrid_rojas_c%2Fsets%2F72157632725046121%2F&set_id=72157632725046121&jump_to=\" width=\"400\" height=\"300\">\u003c/embed>\u003c/object>\u003c/center>\n\u003cp>\u003c/p>\n\u003cp>Thanks to all the staff at \u003ca href=\"http://www.booksinc.net/\">Books Inc.\u003c/a> on California Street, \u003ca href=\"http://citylights.com/\">City Lights\u003c/a>, \u003ca href=\"http://www.greenapplebooks.com/\">Green Apple Books\u003c/a>, \u003ca href=\"http://www.borderlands-books.com/\">Borderlands Books\u003c/a>, \u003ca href=\"http://www.dogearedbooks.com/\">Dog Eared Books\u003c/a>, and \u003ca href=\"http://booksmith.com/\">The Booksmith\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>1616: The World in Motion\u003c/i> is everything I could ever want in a history book. Let me come clean. I am not really the type of reader who picks up history books. In fact, I usually steer clear of that dreary aisle in bookstores and head instead into the expansive fiction section, or I grab a bench in the airy poetry corner, and then look at some art books until my feet hurt from standing. If I happen to come upon the history section, I am befuddled. The word \u003ci>war\u003c/i> seems to loom from everywhere, presidential faces peer out, and country names are set in ominous typefaces. I retreat slowly.\u003c/p>\n\u003cp>\u003ci>1616: The World in Motion\u003c/i> is no ordinary history book. It is illustrated, lyrical, and focuses on a single year, jumping through stories across the globe. It is beautiful to look at, containing engravings from around the world, watercolors from the Mughal court, maps from odd perspectives, soft, fleshy paintings, ink scrolls, and sketches. It is also pleasant to read, touching on the silk trade, witch-hunts, court intrigues, pirates, alchemy, wanderlust on sea and land, slaves, and refugees. Few books are conceived of in this way.\u003c/p>\n\u003cp>Thomas Christensen writes in the preface of this book that one day he simply woke up with the strange resolve to research and write about the year 1616 — it became an obsession. “Some years,” Christensen writes, “1066, 1492, 1776, 1945 — are emblazoned in everyone’s consciousness.” While 1616 is not one of these, Christensen argues this a good thing. “Cathartic events can so dominate an era that they make it difficult to see the deeper forces that drive long-term change.”\u003c/p>\n\u003cp>1616 reveals a world on the verge: science and spirituality are about to rip apart forever; globalization begins to erode the notion of the world as a magical, mysterious place; women rising to some stature suffer dire grievances; world religions clash but business is a uniting force; and people everywhere are confronted with the strange sights of foreign emissaries, opportunists, and outlaws decked in curious dress parading into their previously isolated pockets of civilization.\u003c/p>\n\u003cp>The book is not chronologically told, but organized around ideas. The opening chapter focuses on the silk trade and the first multinational corporation ever, the Dutch East India Company. While buoyed with interesting tidbits (“Silkworms were said to have been carried to Central Asia by a woman who hid moth eggs in her headband; eastern Christian monks supposedly brought eggs to Turkey hidden in their long walking staffs,”) international trade just fails to capture the imagination.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The next three parts — which dwell on emerging roles for women, the visual arts, and the state of science and spirituality in the world of 1616 (with the intriguing title “Witch Hunters and Truth Seekers; Science, Signs, and Secret Knowledge”) — are absolutely riveting.\u003c/p>\n\u003cp>Part two opens with the following impeccable passage: “In June 1616 a desk clerk in a London hotel checked in a party of travelers that was remarkable even to his jaded eyes. The lodgers were a mixed group of about ten or twelve men, women, and children. The most startling was a shaman named Uttamatomakkin. His face was boldly painted in bright colors. His hair was shaved on one side of his head and braided to a length of several feet on the other. He wore a breechcloth and carried a long, notched stick, on which he had tried for a time to record an estimate of England’s population before giving up the attempt hopeless.”\u003c/p>\n\u003cp>The shaman is Pocahontas’ father. Christensen expertly navigates female trajectories of the era. In some cases women are oppressed by male-centric traditions, and in other cases, they are able to subvert these traditions. Pocahontas found herself in England being shown off as a savage converted and saved by religion. English poet Mary Wroth was punished by society when she published a folio. Cross-dresser Catalina de Erauso successfully fought in the New World as a soldier, killing many natives in Peru and Chile, and acquiring a reputation as quick-tempered and absolutely sanguinary. When her true identity was discovered, Catalina de Erauso didn’t suffer much of a consequence. In the end, she even got special permission from the Pope to wear men’s clothes. People referred to her as “Lieutenant Antonio de Erauso.”\u003c/p>\n\u003cp>The third part of the book surveys the visual arts in 1616, and Christensen shows a field increasingly influenced by foreign worldviews. The paintings from the Moghul court are probably the most exemplary of this change. The Moghul emperor had his own personal atelier “to document the events and personages of his reign, as well as the curious creatures that made their way to his court.” They are filled with strange symbolism (Mughal emperor Jahangir seated atop a large sand clock upon which angels are writing; Jahangir standing on a globe resting on a goat which in turn stands upon a fish) and they also feature foreign emissaries and ambassadors in what translates into a visual culture clash.\u003c/p>\n\u003cp>Chapter four, “Witch Hunters and Truth Seekers”, is the most compelling in the book, centering on the rift that developed in the sciences. Largely focused around Johannes Kepler (who among other things was preoccupied with discovering God’s plan through the geometry of the universe) and Tycho Brahe (who lost part of his nose in a duel and so wore a prosthetic metal one), 1616 finds science divided. On the one hand it is seriously entwined with divination, religion, and the inquisition, and on the other hand (as exemplified by Galileo) it makes a resolute break with the ethereal.\u003c/p>\n\u003cp>In \u003ci>1616: A World in Motion\u003c/i> Christensen uses decisively modern narrative techniques. In the beginning of the book we learn about “the Overbury murder,” a case that involves King James’ court, an extramarital affair, a marriage annulment, and a sonnet. Two chapters later, as we read about China, Christensen pulls the curtain back to a connection to the Overbury murder. Yet another chapter later, when you least expect him to, Christensen will do it again. Christensen’s intention may be clearly humorous, but the feeling conveyed is profound. Upon each new successive, side-long connection to the Overbury trial, an invitation to ponder what a small world it was, even in 1616, slowly cements itself.\u003c/p>\n\u003cp>The simplicity of reading only about one year is a profound one, providing a feeling of omniscience and a kind of deep pleasure upon witnessing the same year open again and again in different cultures and empires. As I reached the end of the book and sighed in satisfaction my partner smiled at me, asking, “What happened? Did it finally become 16\u003ci>17\u003c/i>?” “Yeah,” I tell him. “It kind of did.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>1616: The World in Motion\u003c/i> is available at \u003ca href=\"http://www.amazon.com/1616-World-Motion-Thomas-Christensen/dp/161902067X\">amazon.com\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>1616: The World in Motion\u003c/i> is everything I could ever want in a history book. Let me come clean. I am not really the type of reader who picks up history books. In fact, I usually steer clear of that dreary aisle in bookstores and head instead into the expansive fiction section, or I grab a bench in the airy poetry corner, and then look at some art books until my feet hurt from standing. If I happen to come upon the history section, I am befuddled. The word \u003ci>war\u003c/i> seems to loom from everywhere, presidential faces peer out, and country names are set in ominous typefaces. I retreat slowly.\u003c/p>\n\u003cp>\u003ci>1616: The World in Motion\u003c/i> is no ordinary history book. It is illustrated, lyrical, and focuses on a single year, jumping through stories across the globe. It is beautiful to look at, containing engravings from around the world, watercolors from the Mughal court, maps from odd perspectives, soft, fleshy paintings, ink scrolls, and sketches. It is also pleasant to read, touching on the silk trade, witch-hunts, court intrigues, pirates, alchemy, wanderlust on sea and land, slaves, and refugees. Few books are conceived of in this way.\u003c/p>\n\u003cp>Thomas Christensen writes in the preface of this book that one day he simply woke up with the strange resolve to research and write about the year 1616 — it became an obsession. “Some years,” Christensen writes, “1066, 1492, 1776, 1945 — are emblazoned in everyone’s consciousness.” While 1616 is not one of these, Christensen argues this a good thing. “Cathartic events can so dominate an era that they make it difficult to see the deeper forces that drive long-term change.”\u003c/p>\n\u003cp>1616 reveals a world on the verge: science and spirituality are about to rip apart forever; globalization begins to erode the notion of the world as a magical, mysterious place; women rising to some stature suffer dire grievances; world religions clash but business is a uniting force; and people everywhere are confronted with the strange sights of foreign emissaries, opportunists, and outlaws decked in curious dress parading into their previously isolated pockets of civilization.\u003c/p>\n\u003cp>The book is not chronologically told, but organized around ideas. The opening chapter focuses on the silk trade and the first multinational corporation ever, the Dutch East India Company. While buoyed with interesting tidbits (“Silkworms were said to have been carried to Central Asia by a woman who hid moth eggs in her headband; eastern Christian monks supposedly brought eggs to Turkey hidden in their long walking staffs,”) international trade just fails to capture the imagination.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The next three parts — which dwell on emerging roles for women, the visual arts, and the state of science and spirituality in the world of 1616 (with the intriguing title “Witch Hunters and Truth Seekers; Science, Signs, and Secret Knowledge”) — are absolutely riveting.\u003c/p>\n\u003cp>Part two opens with the following impeccable passage: “In June 1616 a desk clerk in a London hotel checked in a party of travelers that was remarkable even to his jaded eyes. The lodgers were a mixed group of about ten or twelve men, women, and children. The most startling was a shaman named Uttamatomakkin. His face was boldly painted in bright colors. His hair was shaved on one side of his head and braided to a length of several feet on the other. He wore a breechcloth and carried a long, notched stick, on which he had tried for a time to record an estimate of England’s population before giving up the attempt hopeless.”\u003c/p>\n\u003cp>The shaman is Pocahontas’ father. Christensen expertly navigates female trajectories of the era. In some cases women are oppressed by male-centric traditions, and in other cases, they are able to subvert these traditions. Pocahontas found herself in England being shown off as a savage converted and saved by religion. English poet Mary Wroth was punished by society when she published a folio. Cross-dresser Catalina de Erauso successfully fought in the New World as a soldier, killing many natives in Peru and Chile, and acquiring a reputation as quick-tempered and absolutely sanguinary. When her true identity was discovered, Catalina de Erauso didn’t suffer much of a consequence. In the end, she even got special permission from the Pope to wear men’s clothes. People referred to her as “Lieutenant Antonio de Erauso.”\u003c/p>\n\u003cp>The third part of the book surveys the visual arts in 1616, and Christensen shows a field increasingly influenced by foreign worldviews. The paintings from the Moghul court are probably the most exemplary of this change. The Moghul emperor had his own personal atelier “to document the events and personages of his reign, as well as the curious creatures that made their way to his court.” They are filled with strange symbolism (Mughal emperor Jahangir seated atop a large sand clock upon which angels are writing; Jahangir standing on a globe resting on a goat which in turn stands upon a fish) and they also feature foreign emissaries and ambassadors in what translates into a visual culture clash.\u003c/p>\n\u003cp>Chapter four, “Witch Hunters and Truth Seekers”, is the most compelling in the book, centering on the rift that developed in the sciences. Largely focused around Johannes Kepler (who among other things was preoccupied with discovering God’s plan through the geometry of the universe) and Tycho Brahe (who lost part of his nose in a duel and so wore a prosthetic metal one), 1616 finds science divided. On the one hand it is seriously entwined with divination, religion, and the inquisition, and on the other hand (as exemplified by Galileo) it makes a resolute break with the ethereal.\u003c/p>\n\u003cp>In \u003ci>1616: A World in Motion\u003c/i> Christensen uses decisively modern narrative techniques. In the beginning of the book we learn about “the Overbury murder,” a case that involves King James’ court, an extramarital affair, a marriage annulment, and a sonnet. Two chapters later, as we read about China, Christensen pulls the curtain back to a connection to the Overbury murder. Yet another chapter later, when you least expect him to, Christensen will do it again. Christensen’s intention may be clearly humorous, but the feeling conveyed is profound. Upon each new successive, side-long connection to the Overbury trial, an invitation to ponder what a small world it was, even in 1616, slowly cements itself.\u003c/p>\n\u003cp>The simplicity of reading only about one year is a profound one, providing a feeling of omniscience and a kind of deep pleasure upon witnessing the same year open again and again in different cultures and empires. As I reached the end of the book and sighed in satisfaction my partner smiled at me, asking, “What happened? Did it finally become 16\u003ci>17\u003c/i>?” “Yeah,” I tell him. “It kind of did.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Art Book Round Up: Banksy, Bullfighting, Weiwei, and Warhol",
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"content": "\u003cp>We’ve received a handful of notable art books this month at KQED and thought we’d take a moment to share them with you.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://us.macmillan.com/banksy/WillEllsworthJones\">\u003ci>Banksy: The Man Behind the Wall\u003c/i>\u003c/a>, Will Ellsworth-Jones\u003c/b>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>If you want to know who the real Banksy is, this book is not for you. Reporter Ellsworth-Jones explains on page one that his book “does not attempt to unmask him,” but rather uncovers the trajectory of Banksy’s path from street art criminal to contemporary art world darling. Written in a conversational, sometimes cheeky tone, the book comes with a photo insert and an amazing array of images, and would definitely be a solid addition to any obsessive Banksy fan’s collection.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/09/bullfight1.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>\u003ci>\u003ca href=\"http://glitteratiincorporated.com/artist.php?id=bullfight&aview=acclaim&nid=6585\">Bullfight: The Pas de Deux\u003c/a>\u003c/i>, Ricardo B. Sanchez\u003c/b>\u003c/p>\n\u003cp>It doesn’t take much to picture this hefty, full-color photo book on your coffee table, impressing your friends. It is filled with long-exposure photographs of bullfighters waving brightly colored muletas at their beastly opponents, and aims to highlight the dance and precision of movement between matador and bull. The images are all similar, yet striking in different ways. The artistic choice to shoot out-of-focus motion shots results in painterly works subtly representative of the struggle between man and nature: they take turns overpowering each other.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/09/aiweiweibook.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://press.princeton.edu/titles/9924.html\">\u003ci>Weiwei-isms\u003c/i>\u003c/a>, Ai Weiwei edited by Larry Warsh\u003c/b>\u003c/p>\n\u003cp>It’s no surprise that Chinese artist Ai Weiwei is full of wisdom, and it’s only fitting that quotes pulled from his writings, interviews, and tweets would be published in a pocket-sized hardcover gem of a book. The quotes are organized around themes related to government, power, the digital world, and the future. I flipped the book open to: “The Earth is a sphere, there is no East or West.” Boom. That’s the power of Weiwei.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/09/warhol.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>\u003ci>\u003ca href=\"http://glitteratiincorporated.com/artist.php?id=thankyouandywarhol&aview=pub&rid=1903\">Thank You Andy Warhol\u003c/a>\u003c/i>, Catherine Johnson\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There is no denying that Andy Warhol busted down art world walls in ways that are still unmatched. I’ve always thought that if it weren’t for him, many people wouldn’t be recognized for the kind of art they make today. He paved the way. This new book is filled with images of his art, photographs, sketches, and ephemera (and not the stuff you’ve already seen a million times). But the visuals are secondary to the amazing stories about him and his influence, written by luminaries such as Bob Colacello, Betsey Johnson, Jeffrey Deitch, Kara Walker, and countless other creative types and people from his life, including a heartfelt account from his nephew. Just when I thought I knew nearly everything about Warhol, this book came out and schooled me. Did you know he practically invented snakeskin sandals? Neither did I. I’ll be wrapped up in this one for a while.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’ve received a handful of notable art books this month at KQED and thought we’d take a moment to share them with you.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://us.macmillan.com/banksy/WillEllsworthJones\">\u003ci>Banksy: The Man Behind the Wall\u003c/i>\u003c/a>, Will Ellsworth-Jones\u003c/b>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>If you want to know who the real Banksy is, this book is not for you. Reporter Ellsworth-Jones explains on page one that his book “does not attempt to unmask him,” but rather uncovers the trajectory of Banksy’s path from street art criminal to contemporary art world darling. Written in a conversational, sometimes cheeky tone, the book comes with a photo insert and an amazing array of images, and would definitely be a solid addition to any obsessive Banksy fan’s collection.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>2012 was a really great year for books and an even better one for KQED’s book-lovin’ podcast, \u003cem>The Writers’ Block\u003c/em>. Although, as the program’s Producer, every episode is a home run in my book, here’s a rundown of a few authors that truly blew me away.\u003c/p>\n\u003cp>\u003cb>ALISON BECHDEL: \u003cem>ARE YOU MY MOTHER?\u003c/em>\u003c/b>\u003c/p>\n\u003cp>I was super nervous to meet Alison Bechdel. What if she was one of those intelligent people who are jerks about knowing more than you? Or what if she didn’t like my sense of humor? Or my hair? I’m happy to report that she is delightful and spent 15 minutes in my cube and laughed at my weird jokes and said that, if we were in a relationship, she would solve my Libran indecision by making all the decisions on where we would eat and what movies we would watch (seriously). I’m also happy to say that her latest graphic novel \u003ci>Are You My Mother?\u003c/i>, an impeccably crafted peek into psychoanalysis and her relationship with her mother, was well worth the six year wait since her last magnum opus (\u003ci>Fun Home\u003c/i>). It’ll make you feel things!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-eMuW6yLBl4\u003c/p>\n\u003cp>\u003cb>MOLLY RINGWALD: WHEN IT HAPPENS TO YOU\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pee-Wee. E.T. Ferris Bueller. The Garbage Pail Kids. They all ruled the ’80s, but no one had a stronger stranglehold on the decade than everyone’s favorite redhead, Molly Ringwald. With her silver screen my-parents-forgot-my-fing-birthday eye rolls behind her, Ringwald has since moved onto writing. 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And Cheryl Strayed, the woman behind the once-anonymous advice column \u003cem>Dear Sugar\u003c/em>, has the answers (\u003ca href=\"http://www.oprah.com/omagazine/Cheryl-Strayed-Interview-with-Oprah-Wild\" target=\"_blank\" rel=\"noopener\">even Almighty Oprah thinks so\u003c/a>). \u003ci>Tiny Beautiful Things\u003c/i> compiles her best columns, along with unpublished ones, all of which are equal parts wisdom and wisecrack. Click play. Clarity awaits you.\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio//2018/04/KQED158124592.mp3\" title=\"Listen to Cheryl Strayed read an excerpt from \u003ci>Tiny Beautiful Things\u003c/i>\" program=\"The Writers' Block\" image=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/08/Cheryl-Strayed.jpg\"]\u003c/p>\n\u003chr>\n\u003cp>\u003cb>COLIN MELOY: \u003cem>UNDER WILDWOOD\u003c/em>\u003c/b>\u003c/p>\n\u003cp>You’re probably used to hearing this particular voice \u003ca href=\"http://youtu.be/CaNV7eCU2R0\" target=\"_blank\" rel=\"noopener\">sing about sailor-gobbling whales\u003c/a>, but that’s not the only medium in which Colin Meloy, the lead singer of the Decemberists, excels. In the latest installment of the Wildwood series, Meloy, with the help of his illustrator wife Carson Ellis, brings a fantastical parallel universe to life, modeled on Portland’s Forest Park. It almost makes you understand why all your friends keep talking about moving there.\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio//2018/04/KQED163727177.mp3\" title=\"Listen to Colin Meloy read an excerpt from \u003ci>Under Wildwood\u003c/i>\" program=\"The Writers' Block\" image=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/10/Colin-Meloy.jpg\"]\u003c/p>\n\u003chr>\n\u003cp>\u003cb>CASSIE J. SNEIDER: \u003cem>FINE FINE MUSIC\u003c/em>\u003c/b>\u003c/p>\n\u003cp>The first time I met Cassie Sneider I got this rumbling in my chest, a feeling from playgrounds of my past. It could only be one thing: the best friend crush. This happens when someone is so cool and hilarious and brilliant that you just have to play light-as-a-feather-stiff-as-a-board with them. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pee-Wee. E.T. Ferris Bueller. The Garbage Pail Kids. They all ruled the ’80s, but no one had a stronger stranglehold on the decade than everyone’s favorite redhead, Molly Ringwald. With her silver screen my-parents-forgot-my-fing-birthday eye rolls behind her, Ringwald has since moved onto writing. Her first collection, \u003ci>When It Happens to You\u003c/i>, will have you \u003ca href=\"http://images4.fanpop.com/image/photos/21800000/Duckie-3-pretty-in-pink-21868641-500-287.jpg?1356944177192\">falling for her all over again, Duckie style\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003cb>CASSIE J. SNEIDER: \u003cem>FINE FINE MUSIC\u003c/em>\u003c/b>\u003c/p>\n\u003cp>The first time I met Cassie Sneider I got this rumbling in my chest, a feeling from playgrounds of my past. It could only be one thing: the best friend crush. This happens when someone is so cool and hilarious and brilliant that you just have to play light-as-a-feather-stiff-as-a-board with them. Put simply, Cassie’s writing is the equivalent of jumping on the bed with your bestie at a slumber party that never has to end.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
"id": "soldout",
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