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"content": "\u003cp>“The fact is I am quite happy in a movie, even a bad movie,” admits Binx Bolling, the hero of Walker Percy’s 1961 novel \u003cem>The Moviegoer\u003c/em>. It’s the same for a lot of us — cinema affects us in ways we don’t always understand, and even the worst films appeal to our nostalgia and sense memories in manners that defy the normal rules of taste and logic. (Currently, on my DVR: \u003cem>La Dolce Vita\u003c/em>, a classic I know I \u003cem>should\u003c/em> see at some point, and \u003cem>Gymkata\u003c/em>, a truly terrible 1985 martial-arts flick I’ve watched a dozen times. Guess which one I’m going to turn on tonight?)\u003c/p>\n\u003cp>In \u003cem>The Big Screen\u003c/em>, British-American film critic and historian David Thomson attempts to answer some fundamental questions about the world’s favorite hobby. How do we relate to the movies? “The cinema is the embodiment of ‘let there be light,’ ” he writes. But where does the light come from? Does it illuminate us or blind us?\u003c/p>\n\u003cp>Of course, these are difficult and possibly even unanswerable questions. But Thomson — arguably the world’s most intelligent student of the cinema — proves remarkably up to the task. \u003cem>The Big Screen \u003c/em>is beautiful and expansive, “a love letter to a lost love” that has the capacity to change the way we look at film.\u003c/p>\n\u003cp>Thomson’s book is essentially a collection of new essays, covering movies from D.W. Griffith’s brilliant but notoriously racist \u003cem>The Birth of a Nation \u003c/em>to the critically reviled Adam Sandler “comedy” \u003cem>Jack and Jill\u003c/em>. While there’s not an even remotely boring chapter in the book, the centerpiece of the volume is formed of two long essays, “Sunset and Change” and “Film Studies,” in which Thomson jumps from topic to topic breathlessly, almost suddenly, but with transitions that somehow make more sense than they should.\u003c/p>\n\u003cp>It’s like listening for an hour to a smart, hyperactive friend discuss the art he loves the most; the downloading of information leaves you a little exhausted but mostly elated. Thomson has a gift for making his original observations sound almost obvious — film noir, he writes, “is the one genre that admits we’ll lose,” and \u003cem>Casablanca \u003c/em>is “fake, foolish and fanciful beyond belief” but is still “the best fun.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And while he’s unafraid to dive into the canons of some of cinema’s most celebrated but challenging directors — Michelangelo Antonioni and Ingmar Bergman are both discussed — he takes a refreshingly democratic view. \u003cem>The Passion of Joan of Arc \u003c/em>and \u003cem>Alvin and the Chipmunks: The Squeakquel\u003c/em> earn Thomson’s thorough consideration, as do \u003cem>The Ten Commandments \u003c/em>and \u003cem>Deep Throat\u003c/em>. He thoughtfully, if grudgingly, considers the impact of hardcore pornography on viewers (“It resembles a weekend in Las Vegas, and breeds as many dismayed losers”) and takes on the mediocre-at-best career of filmmaker George Lucas (“a great entrepreneur, and a marker of industry … [with a] contented lack of personality”).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But all of the history, all of the opinion, is in service of answering those previously stated questions. And these: What does film do to us? Does it isolate us or contribute to a common cultural language? There are no sure-thing conclusions in art, but Thomson’s guess is as good as any: We watch movies to see ourselves from unrealistic angles, because we crave the feeling of desire, and we love the artifice, the uncertainty. “It’s an impossible venture,” Thomson writes, “but it is a legacy of American film — the gift of unreality.” Or, in the words of Joan Didion, “We tell ourselves stories in order to live.” Movies, for many of us, are life, and for about 90 minutes, in the comforting darkness of a theater, we can pretend that nothing will ever end. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2012 National Public Radio. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Assaying+The+Legacy+Of+%27The+Big+Screen%27&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"content": "\u003cp>During a college visit to Colorado in September, Ruth Bader Ginsburg told students that she expects to rule this coming term on the Defense of Marriage Act. The 1996 law is already on its deathbed — since last year, the Justice Department has refused to argue in court for its constitutionality — but it remains on the books. That means the 130,000 or so married gay couples in America receive none of the federal benefits that straight married couples do.\u003c/p>\n\u003cp>Naturally, Ginsburg wouldn’t be drawn out on how she’d vote. But Michael Klarman, a Harvard law professor, former Ginsburg clerk and author of a new legal history of same-sex marriage, thinks he already knows the outcome. “The handwriting on the wall is as clear as it ever gets,” he writes. DOMA is going to be scrapped, and soon after same-sex marriage will be the law of the land.\u003c/p>\n\u003cp>How can he be so sure? Well, that’s the story of \u003cem>From the Closet to the Altar\u003c/em>, which looks at the litigation of gay life — and specifically gay marriage — from World War II to today. It comes on the heels of \u003cem>Victory: The Triumphant Gay Revolution\u003c/em>, Linda Hirshman’s excellent recent history of the American gay rights movement. Klarman’s book, in turn, chronicles how the courts responded to that movement — and how judges who once dismissed gay equality out of hand now seemed poised to enshrine it in law.\u003c/p>\n\u003cp>In the 1970s and 1980s, gays made important strides on issues from police harassment to employment to health. But it wasn’t until the mid-1990s, when Hawaii came close to legalizing same-sex unions, that both gay advocates and homophobes began their battle royale. The Hawaii case set off a state-by-state arms race to legalize or block gay nuptials: As of today, six states and Washington, D.C., allow same-sex marriages, with three more — Maryland, Maine and Washington — likely to join them this year.\u003c/p>\n\u003cp>The 50-state marriage battle may be messy, but it has had one major benefit: S\u003cem>ome\u003c/em> gay Americans can wed, and that has helped acclimate the country to its inevitable legalization nationwide. As a question of constitutional law, same-sex marriage is a no-brainer to anyone who has ever read the 14th Amendment. In his meticulous opinion last year, Vaughn Walker, the judge in the California case \u003cem>Perry v. Schwarzenegger \u003c/em>(later \u003cem>Perry v. Brown\u003c/em>), wrote that while laws concerning gays must be given “strict scrutiny,” the highest level of analysis, a law forbidding gay marriage doesn’t even meet the “rational basis test,” the lowest level.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That doesn’t mean any court will just say so, though. Klarman makes the point that when it comes to social issues, courts track American views pretty closely, and they expand rights only when the country can handle it without massive backlash. If sodomy laws were upheld in 1986 and struck down in 2003, it’s not because of a change in jurisprudence; it’s because America became a nation in which such laws were untenable.\u003c/p>\n\u003cp>Since 2010, in a shift more rapid than anyone predicted, poll after poll has shown that a majority of Americans support marriage equality. So when \u003cem>Perry \u003c/em>or another case eventually makes it to the high court, it will be much easier for Anthony Kennedy — “undoubtedly the most powerful justice in the history of the U.S. Supreme Court,” Klarman asserts — to continue the legacy he began back in 1980, when he wrote a surprisingly pro-gay opinion as a judge on the 9th Circuit Court of Appeals. And the 76-year-old Kennedy, who also wrote the decision that voided sodomy laws, probably has an eye on history.\u003c/p>\n\u003cp>“What justice,” Klarman writes, “would not be tempted to author the opinion that within a few short years likely would become known as the \u003cem>Brown v. Board\u003c/em> of the gay rights movement?”\u003c/p>\n\u003cp>Readers of \u003cem>From the Closet to the Altar\u003c/em>, especially gay ones, might regret that Klarman seldom steps beyond the legal frame to discuss the history of marriage itself and why marriage has become nearly the only issue on the gay rights agenda today, supported even by those gays who disdain monogamy and the nuclear family. Like no other custom in America, marriage is a marker of civil equality, a question of citizenship as much as love. Opponents may suggest that marriage has some eternal, inviolable form, but marriage has in fact been altered and expanded throughout American history to reflect society’s changing views toward women, racial minorities, debtors, the mentally disabled, prisoners and other populations once excluded from a bedrock civic institution.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But while Klarman may not give the full picture of marriage equality, his legal analysis is beyond fault — especially given how quickly the terrain is shifting. When his book went to press, the author could still write with a fair degree of assuredness that “Obama is unlikely to endorse gay marriage before the 2012 election,” lest he lose support in swing states like Ohio or Pennsylvania. That outdated statement shouldn’t be held against Klarman. On the contrary, it’s just further confirmation of his argument that at this speed, and with this much support, the legalization of same-sex marriage is a near certainty. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2012 National Public Radio. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mapping+The+Road+%27From+The+Closet+To+The+Altar%27&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>During a college visit to Colorado in September, Ruth Bader Ginsburg told students that she expects to rule this coming term on the Defense of Marriage Act. The 1996 law is already on its deathbed — since last year, the Justice Department has refused to argue in court for its constitutionality — but it remains on the books. That means the 130,000 or so married gay couples in America receive none of the federal benefits that straight married couples do.\u003c/p>\n\u003cp>Naturally, Ginsburg wouldn’t be drawn out on how she’d vote. But Michael Klarman, a Harvard law professor, former Ginsburg clerk and author of a new legal history of same-sex marriage, thinks he already knows the outcome. “The handwriting on the wall is as clear as it ever gets,” he writes. DOMA is going to be scrapped, and soon after same-sex marriage will be the law of the land.\u003c/p>\n\u003cp>How can he be so sure? Well, that’s the story of \u003cem>From the Closet to the Altar\u003c/em>, which looks at the litigation of gay life — and specifically gay marriage — from World War II to today. It comes on the heels of \u003cem>Victory: The Triumphant Gay Revolution\u003c/em>, Linda Hirshman’s excellent recent history of the American gay rights movement. Klarman’s book, in turn, chronicles how the courts responded to that movement — and how judges who once dismissed gay equality out of hand now seemed poised to enshrine it in law.\u003c/p>\n\u003cp>In the 1970s and 1980s, gays made important strides on issues from police harassment to employment to health. But it wasn’t until the mid-1990s, when Hawaii came close to legalizing same-sex unions, that both gay advocates and homophobes began their battle royale. The Hawaii case set off a state-by-state arms race to legalize or block gay nuptials: As of today, six states and Washington, D.C., allow same-sex marriages, with three more — Maryland, Maine and Washington — likely to join them this year.\u003c/p>\n\u003cp>The 50-state marriage battle may be messy, but it has had one major benefit: S\u003cem>ome\u003c/em> gay Americans can wed, and that has helped acclimate the country to its inevitable legalization nationwide. As a question of constitutional law, same-sex marriage is a no-brainer to anyone who has ever read the 14th Amendment. In his meticulous opinion last year, Vaughn Walker, the judge in the California case \u003cem>Perry v. Schwarzenegger \u003c/em>(later \u003cem>Perry v. Brown\u003c/em>), wrote that while laws concerning gays must be given “strict scrutiny,” the highest level of analysis, a law forbidding gay marriage doesn’t even meet the “rational basis test,” the lowest level.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That doesn’t mean any court will just say so, though. Klarman makes the point that when it comes to social issues, courts track American views pretty closely, and they expand rights only when the country can handle it without massive backlash. If sodomy laws were upheld in 1986 and struck down in 2003, it’s not because of a change in jurisprudence; it’s because America became a nation in which such laws were untenable.\u003c/p>\n\u003cp>Since 2010, in a shift more rapid than anyone predicted, poll after poll has shown that a majority of Americans support marriage equality. So when \u003cem>Perry \u003c/em>or another case eventually makes it to the high court, it will be much easier for Anthony Kennedy — “undoubtedly the most powerful justice in the history of the U.S. Supreme Court,” Klarman asserts — to continue the legacy he began back in 1980, when he wrote a surprisingly pro-gay opinion as a judge on the 9th Circuit Court of Appeals. And the 76-year-old Kennedy, who also wrote the decision that voided sodomy laws, probably has an eye on history.\u003c/p>\n\u003cp>“What justice,” Klarman writes, “would not be tempted to author the opinion that within a few short years likely would become known as the \u003cem>Brown v. Board\u003c/em> of the gay rights movement?”\u003c/p>\n\u003cp>Readers of \u003cem>From the Closet to the Altar\u003c/em>, especially gay ones, might regret that Klarman seldom steps beyond the legal frame to discuss the history of marriage itself and why marriage has become nearly the only issue on the gay rights agenda today, supported even by those gays who disdain monogamy and the nuclear family. Like no other custom in America, marriage is a marker of civil equality, a question of citizenship as much as love. Opponents may suggest that marriage has some eternal, inviolable form, but marriage has in fact been altered and expanded throughout American history to reflect society’s changing views toward women, racial minorities, debtors, the mentally disabled, prisoners and other populations once excluded from a bedrock civic institution.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But while Klarman may not give the full picture of marriage equality, his legal analysis is beyond fault — especially given how quickly the terrain is shifting. When his book went to press, the author could still write with a fair degree of assuredness that “Obama is unlikely to endorse gay marriage before the 2012 election,” lest he lose support in swing states like Ohio or Pennsylvania. That outdated statement shouldn’t be held against Klarman. On the contrary, it’s just further confirmation of his argument that at this speed, and with this much support, the legalization of same-sex marriage is a near certainty. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2012 National Public Radio. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mapping+The+Road+%27From+The+Closet+To+The+Altar%27&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s been five years since the Amazon Kindle started one of the most enduring literary controversies of recent times: the fight between e-books and printed books. If you’re a devoted reader, you’re probably already sick of the back and forth between the excitable technophiles and the stubborn Luddites. The proponents of e-books rave about the unexplored avenues, the hypertext, the entire world of literature accessible with just one click. The rest of us — well, we like the way books feel and smell, OK? It might seem sentimental, but that’s falling in love for you. Logic doesn’t necessarily apply.\u003c/p>\n\u003cp>Of course it’s a false dichotomy — there’s room enough for all kinds of readers, and a great novel is a great novel, whether you’re immersed in an old, yellowed paperback or the glowing screen on a smartphone. And there’s really not that much daylight between the technology devotees who geek out about the latest operating system upgrade, and the old-school literature fans who know the name of every local bookstore cat. Whether your hero is Steve Jobs or Stephen Crane, we’re all just in love with information and the power of the word — and that’s the point Robin Sloan attempts to make in his debut novel, \u003cem>Mr. Penumbra’s 24-Hour Bookstore\u003c/em>, one of the most thoughtful and fun reading experiences you’re likely to have this year.\u003c/p>\n\u003cp>Sloan’s novel follows Clay Jannon, a young San Franciscan with a background in the tech industry, as he starts work at the titular bookstore, a mysterious establishment with comically tall shelves and a bizarre, infrequent clientele. Most of the store’s customers don’t buy books at all; they borrow a series of beautiful, cryptic volumes that contain nothing but grids of numbers. Clay recruits some fellow high-tech friends to try to figure out the secret behind the store and its curious proprietor, and they end up on the trail of what might be history’s weirdest book club.\u003c/p>\n\u003cp>It’s a convoluted plot that relies a little too heavily on convenient coincidences, but Sloan pulls it off with his extremely charismatic prose. He’s a deeply funny writer: When the bookstore owner asks Clay if he owns a Kindle, “[i]t feels like it’s the principal asking me if I have weed in my backpack.” And when Clay builds a 3-D computer model of his new workplace, complete with simulated shadows and precise coordinates, he notes: “If this sounds impressive to you, you’re over thirty.” (Disclosure: It does, and I am.)\u003c/p>\n\u003cp>Sloan is new to the fiction game; he’s spent his career as a “media inventor” working for companies like Current TV and Twitter. So it’s not surprising that his book isn’t flawless. Amid the insights (“We all come to life and gather allies and build empires and die, all in a single moment”) and inspired observations (“This is the kind of store that makes you want to be a teenage wizard”) are occasional groaners (“San Francisco is a good place for walks if your legs are strong”) and descriptions too clever by half (a simple bagel becomes a “tasty toroid”). Perhaps the biggest problem with \u003cem>Mr. Penumbra’s 24-Hour Bookstore\u003c/em> is its epilogue, which ties up the book’s loose ends far too neatly. If it weren’t for the perfectly rendered last paragraph, Sloan’s closing pages could have been a disaster, badly marring an otherwise fine novel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But there’s so much large-hearted magic in the book, it seems almost petty to complain. Sloan is remarkably gifted and has an obviously deep affection for both literature and technology. (The “wizards” at Google play a key role in the book, though they do come in for some gentle ribbing.) He believes books and computers can complement each other, make each other better, make the \u003cem>world\u003c/em> better, and he argues his case with the infectious fervor of a fanboy. At its best, \u003cem>Mr. Penumbra’s 24-Hour Bookstore \u003c/em>reminds us of the miracle of reading, no matter how you choose to do it. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2012 National Public Radio. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Page+And+Screen+Make+Peace+In+%27Mr.+Penumbra%27&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been five years since the Amazon Kindle started one of the most enduring literary controversies of recent times: the fight between e-books and printed books. If you’re a devoted reader, you’re probably already sick of the back and forth between the excitable technophiles and the stubborn Luddites. The proponents of e-books rave about the unexplored avenues, the hypertext, the entire world of literature accessible with just one click. The rest of us — well, we like the way books feel and smell, OK? It might seem sentimental, but that’s falling in love for you. Logic doesn’t necessarily apply.\u003c/p>\n\u003cp>Of course it’s a false dichotomy — there’s room enough for all kinds of readers, and a great novel is a great novel, whether you’re immersed in an old, yellowed paperback or the glowing screen on a smartphone. And there’s really not that much daylight between the technology devotees who geek out about the latest operating system upgrade, and the old-school literature fans who know the name of every local bookstore cat. Whether your hero is Steve Jobs or Stephen Crane, we’re all just in love with information and the power of the word — and that’s the point Robin Sloan attempts to make in his debut novel, \u003cem>Mr. Penumbra’s 24-Hour Bookstore\u003c/em>, one of the most thoughtful and fun reading experiences you’re likely to have this year.\u003c/p>\n\u003cp>Sloan’s novel follows Clay Jannon, a young San Franciscan with a background in the tech industry, as he starts work at the titular bookstore, a mysterious establishment with comically tall shelves and a bizarre, infrequent clientele. Most of the store’s customers don’t buy books at all; they borrow a series of beautiful, cryptic volumes that contain nothing but grids of numbers. Clay recruits some fellow high-tech friends to try to figure out the secret behind the store and its curious proprietor, and they end up on the trail of what might be history’s weirdest book club.\u003c/p>\n\u003cp>It’s a convoluted plot that relies a little too heavily on convenient coincidences, but Sloan pulls it off with his extremely charismatic prose. He’s a deeply funny writer: When the bookstore owner asks Clay if he owns a Kindle, “[i]t feels like it’s the principal asking me if I have weed in my backpack.” And when Clay builds a 3-D computer model of his new workplace, complete with simulated shadows and precise coordinates, he notes: “If this sounds impressive to you, you’re over thirty.” (Disclosure: It does, and I am.)\u003c/p>\n\u003cp>Sloan is new to the fiction game; he’s spent his career as a “media inventor” working for companies like Current TV and Twitter. So it’s not surprising that his book isn’t flawless. Amid the insights (“We all come to life and gather allies and build empires and die, all in a single moment”) and inspired observations (“This is the kind of store that makes you want to be a teenage wizard”) are occasional groaners (“San Francisco is a good place for walks if your legs are strong”) and descriptions too clever by half (a simple bagel becomes a “tasty toroid”). Perhaps the biggest problem with \u003cem>Mr. Penumbra’s 24-Hour Bookstore\u003c/em> is its epilogue, which ties up the book’s loose ends far too neatly. If it weren’t for the perfectly rendered last paragraph, Sloan’s closing pages could have been a disaster, badly marring an otherwise fine novel.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But there’s so much large-hearted magic in the book, it seems almost petty to complain. Sloan is remarkably gifted and has an obviously deep affection for both literature and technology. (The “wizards” at Google play a key role in the book, though they do come in for some gentle ribbing.) He believes books and computers can complement each other, make each other better, make the \u003cem>world\u003c/em> better, and he argues his case with the infectious fervor of a fanboy. At its best, \u003cem>Mr. Penumbra’s 24-Hour Bookstore \u003c/em>reminds us of the miracle of reading, no matter how you choose to do it. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2012 National Public Radio. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Page+And+Screen+Make+Peace+In+%27Mr.+Penumbra%27&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "One City One Book: Rebecca Solnit's A Paradise Built in Hell",
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"content": "\u003cp>This year’s \u003ca href=\"http://sfpl.org/index.php?pg=2000352501\">\u003ci>One City One Book\u003c/i> \u003c/a> is about disasters. If there ever was an apt choice for a book to recommend to the Bay Area, Rebecca Solnit’s \u003ci>A Paradise Built in Hell \u003c/i>is probably it. \u003c/p>\n\u003cp>After all, it’s surprisingly easy to fall into a spiral of anxiety when it comes to disasters. When I first moved to California, my idea of researching and preparing for disaster sent me into the wee hours in a caffeinated/sleepless state where $400 for an Emergency Preparedness Kit seemed not only sensible but necessary. It had provisions for four people (we are only two in my household, but I wanted to provide for others) and my cat got a separate kit of her own (cat food, water, and first aid kit). It only made sense to add four emergency sleeping bags because they were tested and developed by NASA. I think my mouse hovered over emergency shelter and portable toilet at check-out for a full five minutes before I was able to muster enough presence of mind to decline those items. We don’t hear too much about the findings of anthropologists and sociologists regarding our behavior during disasters. This book changes that. I promise this book will help you weather it all.\u003c/p>\n\u003cp>“Who are you? Who are we?” Thus opens \u003ci>A Paradise Built in Hell\u003c/i>. The thesis of the book sounds a little bit like the setup of a physics problem: does society in the absence of authority implode? Does it degenerate into monstrosity (as Hobbes believed), driven by selfish desires to secure food and shelter and by personal gain (looting, raping, and plundering)? Or does society in that vacuum undergo an altruistic transformation? \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/10/02/aparadisebuiltinhell.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/p>\n\u003cp>To Solnit, disaster is such a vacuum, a “rupture of everyday life” providing a moment where we find ourselves both physically uprooted and psychologically unmoored. The catalyst for this book is Solnit’s personal experience of the 1989 Loma Prieta earthquake, of being thrown into an “intensely absorbing present. I was more surprised,” she writes, “to realize that most people I knew and met in the Bay Area were also enjoying immensely the disaster […]–if \u003ci>enjoyment \u003c/i> is the right word for that sense of immersion in the moment and solidarity with others […] an emotion graver than happiness but deeply positive.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>A Paradise Built in Hell\u003c/i> is an inquisitive and dazzling search for this deep connection to community in five big disasters spread throughout history (the 1906 San Francisco earthquake, the explosion in Halifax in 1917, the 2001 earthquake in Mexico City, 9/11, and Hurricane Katrina). Solnit weighs facts, historical accounts, and interviews, laying out a pattern of altruism in the majority, selfishness by the few, and panic in the powers that be. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" src=\"http://player.vimeo.com/video/49036346\" width=\"400\" height=\"300\" frameborder=\"0\" webkitallowfullscreen mozallowfullscreen allowfullscreen>\u003c/iframe>\u003cbr>\u003c/center>\n\u003cp>Solnit is crisp and thoughtful, building a case for paradise. That the majority of people behave altruistically in the aftermath of a disaster is proof enough that the citizens of paradise, “the people who are brave enough, resourceful enough, and generous enough — already exist. The possibility of paradise hovers on the cusp of coming into being, so much so that it takes powerful forces to keep paradise at bay.” \u003c/p>\n\u003cp>The Hobbesian notion that we regress to a savage state during times of disaster produces very dire consequences in \u003ci>actual\u003c/i> disasters. Solnit references “elite panic,” a term coined by disaster sociologist Kathleen Tierney, which is behavior on the part of those “who believe that others will act savagely and that they themselves are taking measures against barbarism.” When the media, the government, and the affluent show signs of elite panic, a social disaster occurs on top of a natural one. “Belief in [public] panic,” Solnit writes, “provides a premise for treating the public as a problem to be shut out or controlled by the military. Hollywood eagerly feeds those beliefs. Sociologists, however, do not.” \u003c/p>\n\u003cp>While Solnit fizzles in some parts of the book (mostly when she arrives too quickly to ideas — for example, when she delves into the tradition of carnivals, which she argues are like revolutions, which in turn, she argues, are like disasters), the chapters on 9/11 and Hurricane Katrina are absolutely riveting. \u003c/p>\n\u003cp>The personal accounts of 9/11 are moving, and the height of failure of governmental response to Hurricane Katrina is infuriating. The rumors, circulated by the media and echoed by the mayor and governor of a murderous community, of the rape of children in the Louisiana Superdome, of (black) mobs looting (white) property, obscured what was actually happening on the ground for everyone in the nation, and created a dangerous version of elite panic in New Orleans. Solnit suggests that social breakdown is not caused by lack of authority, but rather when “the most powerful prevent aid and evacuation[.]”\u003c/p>\n\u003cp>\u003ci>A Paradise Built in Hell \u003c/i> is infectiously optimistic, striking a balance between commiserating the terrible consequences of disaster while praising the extraordinary communities that rise out of the chaos. “In the wake of an earthquake, a bombing, or a major storm, most people are altruistic and urgently engaged in caring for themselves and those around them.” Solnit is an emergency responder in her neighborhood. Come the next Bay Area earthquake, you may expect her helping hand. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rebecca Solnit will discuss \u003ci>A Paradise Built in Hell \u003c/i> with SF Fire Chief Joanne Hayes-White on October 11, 6 pm, at the Main Library’s Koret Auditorium. For \u003ca href=\"http://www.sfpl.org/index.php?pg=2000554101#authors\">more information\u003c/a>, visit sfpl.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This year’s \u003ca href=\"http://sfpl.org/index.php?pg=2000352501\">\u003ci>One City One Book\u003c/i> \u003c/a> is about disasters. If there ever was an apt choice for a book to recommend to the Bay Area, Rebecca Solnit’s \u003ci>A Paradise Built in Hell \u003c/i>is probably it. \u003c/p>\n\u003cp>After all, it’s surprisingly easy to fall into a spiral of anxiety when it comes to disasters. When I first moved to California, my idea of researching and preparing for disaster sent me into the wee hours in a caffeinated/sleepless state where $400 for an Emergency Preparedness Kit seemed not only sensible but necessary. It had provisions for four people (we are only two in my household, but I wanted to provide for others) and my cat got a separate kit of her own (cat food, water, and first aid kit). It only made sense to add four emergency sleeping bags because they were tested and developed by NASA. I think my mouse hovered over emergency shelter and portable toilet at check-out for a full five minutes before I was able to muster enough presence of mind to decline those items. We don’t hear too much about the findings of anthropologists and sociologists regarding our behavior during disasters. This book changes that. I promise this book will help you weather it all.\u003c/p>\n\u003cp>“Who are you? Who are we?” Thus opens \u003ci>A Paradise Built in Hell\u003c/i>. The thesis of the book sounds a little bit like the setup of a physics problem: does society in the absence of authority implode? Does it degenerate into monstrosity (as Hobbes believed), driven by selfish desires to secure food and shelter and by personal gain (looting, raping, and plundering)? Or does society in that vacuum undergo an altruistic transformation? \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/10/02/aparadisebuiltinhell.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/p>\n\u003cp>To Solnit, disaster is such a vacuum, a “rupture of everyday life” providing a moment where we find ourselves both physically uprooted and psychologically unmoored. The catalyst for this book is Solnit’s personal experience of the 1989 Loma Prieta earthquake, of being thrown into an “intensely absorbing present. I was more surprised,” she writes, “to realize that most people I knew and met in the Bay Area were also enjoying immensely the disaster […]–if \u003ci>enjoyment \u003c/i> is the right word for that sense of immersion in the moment and solidarity with others […] an emotion graver than happiness but deeply positive.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>A Paradise Built in Hell\u003c/i> is an inquisitive and dazzling search for this deep connection to community in five big disasters spread throughout history (the 1906 San Francisco earthquake, the explosion in Halifax in 1917, the 2001 earthquake in Mexico City, 9/11, and Hurricane Katrina). Solnit weighs facts, historical accounts, and interviews, laying out a pattern of altruism in the majority, selfishness by the few, and panic in the powers that be. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" src=\"http://player.vimeo.com/video/49036346\" width=\"400\" height=\"300\" frameborder=\"0\" webkitallowfullscreen mozallowfullscreen allowfullscreen>\u003c/iframe>\u003cbr>\u003c/center>\n\u003cp>Solnit is crisp and thoughtful, building a case for paradise. That the majority of people behave altruistically in the aftermath of a disaster is proof enough that the citizens of paradise, “the people who are brave enough, resourceful enough, and generous enough — already exist. The possibility of paradise hovers on the cusp of coming into being, so much so that it takes powerful forces to keep paradise at bay.” \u003c/p>\n\u003cp>The Hobbesian notion that we regress to a savage state during times of disaster produces very dire consequences in \u003ci>actual\u003c/i> disasters. Solnit references “elite panic,” a term coined by disaster sociologist Kathleen Tierney, which is behavior on the part of those “who believe that others will act savagely and that they themselves are taking measures against barbarism.” When the media, the government, and the affluent show signs of elite panic, a social disaster occurs on top of a natural one. “Belief in [public] panic,” Solnit writes, “provides a premise for treating the public as a problem to be shut out or controlled by the military. Hollywood eagerly feeds those beliefs. Sociologists, however, do not.” \u003c/p>\n\u003cp>While Solnit fizzles in some parts of the book (mostly when she arrives too quickly to ideas — for example, when she delves into the tradition of carnivals, which she argues are like revolutions, which in turn, she argues, are like disasters), the chapters on 9/11 and Hurricane Katrina are absolutely riveting. \u003c/p>\n\u003cp>The personal accounts of 9/11 are moving, and the height of failure of governmental response to Hurricane Katrina is infuriating. The rumors, circulated by the media and echoed by the mayor and governor of a murderous community, of the rape of children in the Louisiana Superdome, of (black) mobs looting (white) property, obscured what was actually happening on the ground for everyone in the nation, and created a dangerous version of elite panic in New Orleans. Solnit suggests that social breakdown is not caused by lack of authority, but rather when “the most powerful prevent aid and evacuation[.]”\u003c/p>\n\u003cp>\u003ci>A Paradise Built in Hell \u003c/i> is infectiously optimistic, striking a balance between commiserating the terrible consequences of disaster while praising the extraordinary communities that rise out of the chaos. “In the wake of an earthquake, a bombing, or a major storm, most people are altruistic and urgently engaged in caring for themselves and those around them.” Solnit is an emergency responder in her neighborhood. Come the next Bay Area earthquake, you may expect her helping hand. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rebecca Solnit will discuss \u003ci>A Paradise Built in Hell \u003c/i> with SF Fire Chief Joanne Hayes-White on October 11, 6 pm, at the Main Library’s Koret Auditorium. For \u003ca href=\"http://www.sfpl.org/index.php?pg=2000554101#authors\">more information\u003c/a>, visit sfpl.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“I didn’t notice anything wrong for a while,” says Emily Roark. “I just thought Becca was a silly, smart, weird kid. Good weird.” So begins a sister’s testimonial, one of 120 first-person narratives that form a portion of \u003ci>The Silent History\u003c/i>, a comprehensive, interactive documentation of a fictionalized epidemic, delivered in daily segments to your iPad or iPhone.\u003c/p>\n\u003cp>\u003ci>The Silent History\u003c/i> is part medical case study, part mystery novel, and part real-life scavenger hunt. It tells a gradually expanding story of children born without the ability to generate or comprehend language of any kind. Their condition stumps medical experts, torments parents, and sparks a media frenzy. Within the world of the novel they are commonly referred to as “silents.” The testimonials, beginning in 2011 and continuing 32 years into the future, come from parents, neighbors, teachers, classmates, health care professionals, reporters, and faith healers. Each voice offers a different opinion on the epidemic, retrospectively recounting their interactions with the perplexing case of the silent children.\u003c/p>\n\u003cp>Thus far into my description, \u003ci>The Silent History\u003c/i> differs little from any serialized work of fiction. The innovative aspect of the project comes from incorporating the capabilities of smart devices into the story’s format. Creators Eli Horowitz and Russell Quinn are \u003ca href=\"http://www.mcsweeneys.net/\">McSweeney’s\u003c/a> alums with a vested interest in expanding digital publishing beyond uninspired e-books. \u003ci>The Silent History\u003c/i> is both an experiment and a dramatic statement: what is possible when fiction and technology merge in a meaningful and innovative way?\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=iL4MS8_sst0]In this vein, \u003ci>Silent History\u003c/i> testimonials are balanced by “Field Reports,” site-specific narratives that can only be accessed from the physical location they describe. While testimonials are written by authors Kevin Moffet and Matthew Derby, field reports can be contributed by anyone engaged by the story and the wherewithal to submit their own take on the narrative.\u003c/p>\n\u003cp>As a recent convert to the world of smart phones and tablets, I am easily wowed by all the bells and whistles contained within my iPhone. \u003ci>The Silent History\u003c/i> is not showy. Its various functions and basic navigation are smoothly designed and fairly intuitive. Most importantly, its existence within the device seems necessary and altogether natural.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://u.s.kqed.net/2012/09/30/silenthistory.jpg\" alt=\"\">The story takes place in the near future, detailing a believable (and exhaustively researched) epidemic as related by individuals who are frustrated, confused, and intrigued by its presence in their lives. The narrators’ solitary conditions are reflected in the solitary reading experience. (Each chunk of text is perfectly matched to a short morning commute.) Slowly, organically, connections appear between the different characters. Similarly, readers can access field reports at the periphery of the main narrative and experience new connections to the city around them.\u003c/p>\n\u003cp>I opened a field report just a few blocks away from my house late at night, alone on an empty, darkened street. It was simple story — a father describing walks with his silent son — that ended with the man writing his son’s name in wet concrete. There it was, just to my right, a name in the sidewalk I’d often passed but never noticed. Brought into being by the story, this spooky moment echoed a similar theme within the larger narrative: the power of naming.\u003c/p>\n\u003cp>The children with “Emergent Phasic Resistance,” as the condition is eventually titled, are unable to name the world around them. Before being named “silents,” they can even appear normal. Once classified, the children become representative of a problem without a solution, the first hurdle of diagnosis suddenly mobilizing a whole new set of obstacles.\u003c/p>\n\u003cp>At the same time, their name gives them cohesion and a de facto community of peers. A young boy named David Dietrich, a normal yet desperately lonely kid, yearns to be one of the “silents.” His presence in the story serves as a reminder that “normal” is just as much of a construct as “silent.” The children of \u003ci>The Silent History\u003c/i> may lack language, but it is possible they possess something far greater, something extraordinary. A willing victim to the serial form, I’m hooked. I can’t wait to find out.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Silent History\u003c/i> launches on October 1, 2012. For \u003ca href=\"http://www.thesilenthistory.com/\">more information\u003c/a> visit thesilenthistory.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I didn’t notice anything wrong for a while,” says Emily Roark. “I just thought Becca was a silly, smart, weird kid. Good weird.” So begins a sister’s testimonial, one of 120 first-person narratives that form a portion of \u003ci>The Silent History\u003c/i>, a comprehensive, interactive documentation of a fictionalized epidemic, delivered in daily segments to your iPad or iPhone.\u003c/p>\n\u003cp>\u003ci>The Silent History\u003c/i> is part medical case study, part mystery novel, and part real-life scavenger hunt. It tells a gradually expanding story of children born without the ability to generate or comprehend language of any kind. Their condition stumps medical experts, torments parents, and sparks a media frenzy. Within the world of the novel they are commonly referred to as “silents.” The testimonials, beginning in 2011 and continuing 32 years into the future, come from parents, neighbors, teachers, classmates, health care professionals, reporters, and faith healers. Each voice offers a different opinion on the epidemic, retrospectively recounting their interactions with the perplexing case of the silent children.\u003c/p>\n\u003cp>Thus far into my description, \u003ci>The Silent History\u003c/i> differs little from any serialized work of fiction. The innovative aspect of the project comes from incorporating the capabilities of smart devices into the story’s format. Creators Eli Horowitz and Russell Quinn are \u003ca href=\"http://www.mcsweeneys.net/\">McSweeney’s\u003c/a> alums with a vested interest in expanding digital publishing beyond uninspired e-books. \u003ci>The Silent History\u003c/i> is both an experiment and a dramatic statement: what is possible when fiction and technology merge in a meaningful and innovative way?\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/iL4MS8_sst0'\n title='//www.youtube.com/embed/iL4MS8_sst0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>In this vein, \u003ci>Silent History\u003c/i> testimonials are balanced by “Field Reports,” site-specific narratives that can only be accessed from the physical location they describe. While testimonials are written by authors Kevin Moffet and Matthew Derby, field reports can be contributed by anyone engaged by the story and the wherewithal to submit their own take on the narrative.\u003c/p>\n\u003cp>As a recent convert to the world of smart phones and tablets, I am easily wowed by all the bells and whistles contained within my iPhone. \u003ci>The Silent History\u003c/i> is not showy. Its various functions and basic navigation are smoothly designed and fairly intuitive. Most importantly, its existence within the device seems necessary and altogether natural.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>Elissa Schappell is the author of \u003c/em>Blueprints for Building Better Girls.\u003c/p>\n\u003cp>I was never more confident in my knowledge of the world of men and women than the summer I was 13. I’d become an expert, certainly not through any \u003cem>hands-on\u003c/em> experience with boys, but by reading the trashy romance novels my best friend, Michele, had pinched from her mother.\u003c/p>\n\u003cp>That summer I read books whose covers featured beautiful wild-haired maidens, heaving bosoms barely contained in torn blouses, on stallions, heads thrown back, submitting to or resisting the advances of some rogue.\u003c/p>\n\u003cp>I liked beginnings that promised drama — unbidden passion and misadventure — and endings that promised happily ever after. I liked the sexy bits. (I really liked the sexy bits.)\u003c/p>\n\u003cp>I found Erica Jong’s \u003cem>Fear of Flying\u003c/em> in my mother’s room. If I’d had any clue it was about a 29-year-old married lady’s quest for casual sex with a stranger, no strings attached (something she describes as “rarer than a unicorn”), if I’d known it was a feminist call to arms — one that would breathe life into the second wave of feminism by challenging women to question how emotionally and sexually fulfilling their lives were — if I’d had any inkling how neurotic the protagonist was (a horny poet named Isadora Wing), or how ambiguous the ending was, I would never have opened it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But I did. The cover was an invitation to naughtiness — a naked woman, spied through a half-opened zipper, her breasts barely obscured.\u003c/p>\n\u003cp>Instead what I found was a parade of totally unerotic sexual encounters. The awkward fumblings of Isadora’s youth, the marathon sex with husband No. 1 that left her limping, the impotence of her charismatic lover Adrian Goodlove, who would lure her away from her second husband, Bennett Wing, a psychoanalyst who never kissed her.\u003c/p>\n\u003cp>What ever happened to tradition? Soul mates united despite all odds, riding off into the sunset on that stallion. I didn’t realize then, of course, how depicting a woman with a sex drive like a man’s and the freedom to act on her impulses without punishment was revolutionary. Or how this message of female independence would ultimately serve me better than any romance novel, which built up my expectations about sex and relationships in a way that was sexist and limiting.\u003c/p>\n\u003cp>Back when I was 13, the greatest thing that could happen to a girl would be for a boy to chase her during recess. On the rare occasion I’d been singled out as a target, I’d let the boy catch me, struggling just the right amount in his arms. I’d feign indignation, although what I really felt was proud and powerful.\u003c/p>\n\u003cp>Later, when I’d fantasize about what it would be like to have a boy’s hands on me, I’d worry about being a nymphomaniac. After all, everyone knows sex was only good between two people in love (and people in love got married). So wasn’t there something wrong with me that I considered the prospect of only having sex with one man incredibly boring and terribly unfair? Men got to do whatever they wanted, why couldn’t I?\u003c/p>\n\u003cp>This was the very type of injustice Jong was challenging. With \u003cem>Fear of Flying\u003c/em>, I got a peek into adulthood, but at the time, I couldn’t make that leap. To me, it was just intimidating. Because if life was as messy and complicated for women as Jong proposed, why would anyone want to grow up?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/series/153588024/pg-13-go-to-teen-reads?ps=books_nav_pg13\">PG-13\u003c/a> \u003cem>is produced and edited by Ellen Silva and Rose Friedman with production assistance from Annalisa Quinn.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2012 National Public Radio. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Anti-Romance+Novel+I+Didn%27t+Know+I+Needed&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But I did. The cover was an invitation to naughtiness — a naked woman, spied through a half-opened zipper, her breasts barely obscured.\u003c/p>\n\u003cp>Instead what I found was a parade of totally unerotic sexual encounters. The awkward fumblings of Isadora’s youth, the marathon sex with husband No. 1 that left her limping, the impotence of her charismatic lover Adrian Goodlove, who would lure her away from her second husband, Bennett Wing, a psychoanalyst who never kissed her.\u003c/p>\n\u003cp>What ever happened to tradition? Soul mates united despite all odds, riding off into the sunset on that stallion. I didn’t realize then, of course, how depicting a woman with a sex drive like a man’s and the freedom to act on her impulses without punishment was revolutionary. Or how this message of female independence would ultimately serve me better than any romance novel, which built up my expectations about sex and relationships in a way that was sexist and limiting.\u003c/p>\n\u003cp>Back when I was 13, the greatest thing that could happen to a girl would be for a boy to chase her during recess. On the rare occasion I’d been singled out as a target, I’d let the boy catch me, struggling just the right amount in his arms. I’d feign indignation, although what I really felt was proud and powerful.\u003c/p>\n\u003cp>Later, when I’d fantasize about what it would be like to have a boy’s hands on me, I’d worry about being a nymphomaniac. After all, everyone knows sex was only good between two people in love (and people in love got married). So wasn’t there something wrong with me that I considered the prospect of only having sex with one man incredibly boring and terribly unfair? Men got to do whatever they wanted, why couldn’t I?\u003c/p>\n\u003cp>This was the very type of injustice Jong was challenging. With \u003cem>Fear of Flying\u003c/em>, I got a peek into adulthood, but at the time, I couldn’t make that leap. To me, it was just intimidating. Because if life was as messy and complicated for women as Jong proposed, why would anyone want to grow up?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/series/153588024/pg-13-go-to-teen-reads?ps=books_nav_pg13\">PG-13\u003c/a> \u003cem>is produced and edited by Ellen Silva and Rose Friedman with production assistance from Annalisa Quinn.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2012 National Public Radio. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Anti-Romance+Novel+I+Didn%27t+Know+I+Needed&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What would happen if two of the biggest names of the Renaissance — Niccolo Machiavelli and Leonardo da Vinci — teamed up as a crime-fighting duo? That’s the idea behind Michael Ennis’ new historical thriller, \u003cem>The Malice of Fortune. \u003c/em>The mystery novel pairs the ruthless political philosopher and the genius inventor and artist together as an unlikely detective team on the trail of a serial killer.\u003c/p>\n\u003cp>Ennis first dreamed up the idea of Machiavelli-as-mystery-detective 12 years ago. “The conceit was he would use the precepts of [his political treatise] \u003cem>The Prince\u003c/em> to solve a crime,” Ennis explains.\u003c/p>\n\u003cp>Ennis wanted his work of fiction to be set against a backdrop of real events and historical figures. It takes place at the end of 1502 in a politically fractured Italy. The Borgias and a group of wealthy noblemen with their own private militias are in a struggle for control of the country. While researching these events, Ennis discovered that Machiavelli and Leonardo crossed paths in the same small Italian city at the same time these events were taking place.\u003c/p>\n\u003cp>That’s when Ennis remembered that Leonardo had famously dissected corpses. “I went: Oh! He could be a Renaissance forensic pathologist!” With Leonardo’s forensics expertise and Machiavelli’s talents as a profiler, Ennis now had a crime-fighting team with a contemporary edge — a kind of Renaissance CSI. But he still needed a crime.\u003c/p>\n\u003cp>In the small Italian city, Ennis says Machiavelli and Leonardo “both met someone … who I believe I can establish was what we would describe today as a psychopathic serial killer,” Ennis says. Of course, Ennis can’t say \u003cem>who\u003c/em> that is without giving away the whodunit, but he can say this about the guy:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He was very fond of killing people routinely when he didn’t need to,” Ennis says. “And he liked to make a game out of it. It often involved mutilation — it often involved symbolic mutilation.”\u003c/p>\n\u003cp>Just to make things a little more interesting, Ennis added some romance to the drama in the character of the beautiful courtesan Damiata, who would steal Machiavelli’s heart.\u003c/p>\n\u003cp>Ennis thought he had written a winner, but when he tried to get the book published, no such luck. His agent sent the book around once and didn’t get any takers. He made some changes, sent it out again — and still there was no interest. Finally, with the help of an editor, Ennis made drastic cuts in the book.\u003c/p>\n\u003cp>“We’d taken two bites at the apple,” Ennis says. “Now we had a manuscript that was half the length of the manuscript we’d originally submitted, but we’re coming back for the third bite of the apple. Who’s gonna listen to us?”\u003c/p>\n\u003cp>At this point, Ennis’ agent came up with an idea: They would self-publish the book and send out about 50 copies to independent booksellers to gauge their reaction. Holland Saltsman of Pudd’nhead Books just outside St. Louis was one of the first booksellers to receive a copy. Saltsman remembers thinking: “I’m gonna try and get it in the hands of everyone I possibly can, simply because I think it’s such a beautiful story,” she says.\u003c/p>\n\u003cp>Saltsman wasn’t alone. More than 20 booksellers wrote back praising the novel. Armed with their comments, Ennis and his agent submitted the novel again, and this time Doubleday bought it (reportedly for six figures.) Saltsman says she was fascinated by the Renaissance Italian world that Ennis brought to life.\u003c/p>\n\u003cp>“It talks about what the mission of man is, or the motivation of man,” she says. It “also talks about fortune, or what’s your fate?”\u003c/p>\n\u003cp>Saltsman says thinking about motivation, fate and power through this lens gave her a better understanding of the groundwork for \u003cem>The Prince. \u003c/em>And it encouraged her to pick up the cutthroat treatise that made Machiavelli’s name synonymous with unscrupulous leadership.\u003c/p>\n\u003cp>Saltsman says she now has a completely different idea about who Machiavelli was. That’s exactly what Ennis is hoping for, because, he says, if you read everything that Machiavelli has written, “you acquire a picture of a man who is anything but Machiavellian. He’s a scrupulously honest public servant; he’s a loyal, charismatic friend; he’s an incurable romantic.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And, not to mention, a great detective. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2012 National Public Radio. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Renaissance+CSI%3A+Machiavelli-Da+Vinci+Detective+Duo&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
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"tagline": "Local news to keep you rooted",
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