window.__IS_SSR__=true
window.__INITIAL_STATE__={
"attachmentsReducer": {
"audio_0": {
"type": "attachments",
"id": "audio_0",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background0.jpg"
}
}
},
"audio_1": {
"type": "attachments",
"id": "audio_1",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background1.jpg"
}
}
},
"audio_2": {
"type": "attachments",
"id": "audio_2",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background2.jpg"
}
}
},
"audio_3": {
"type": "attachments",
"id": "audio_3",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background3.jpg"
}
}
},
"audio_4": {
"type": "attachments",
"id": "audio_4",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background4.jpg"
}
}
},
"placeholder": {
"type": "attachments",
"id": "placeholder",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 50,
"height": 50,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 160,
"height": 160,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1.jpg",
"width": 2000,
"height": 1333
}
}
},
"arts_10107774": {
"type": "attachments",
"id": "arts_10107774",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10107774",
"found": true
},
"parent": 107774,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/danrec.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/danrec-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/danrec-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/danrec-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/danrec-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/danrec-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1347666571,
"modified": 1347666571,
"caption": null,
"description": null,
"title": "Our Generation Is One of Moving Back in with Your Mother-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10107773": {
"type": "attachments",
"id": "arts_10107773",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10107773",
"found": true
},
"parent": 107773,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/Cfakepathnaterec.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/Cfakepathnaterec-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/Cfakepathnaterec-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/Cfakepathnaterec-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/Cfakepathnaterec-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/Cfakepathnaterec-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1347666425,
"modified": 1347666425,
"caption": null,
"description": null,
"title": "April 3rd, 2012-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10107772": {
"type": "attachments",
"id": "arts_10107772",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10107772",
"found": true
},
"parent": 107772,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/dianarec.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/dianarec-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/dianarec-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/dianarec-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/dianarec-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/dianarec-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1347666242,
"modified": 1347666242,
"caption": null,
"description": null,
"title": "Letters from Robots-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10107776": {
"type": "attachments",
"id": "arts_10107776",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10107776",
"found": true
},
"parent": 107776,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/CfakepathLoseHer2487.jpg",
"width": 248,
"height": 140
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/CfakepathLoseHer2487-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
}
},
"publishDate": 1347669597,
"modified": 1347669597,
"caption": null,
"description": null,
"title": "'Lose Her' Finds Power In Resonant Voices-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10107353": {
"type": "attachments",
"id": "arts_10107353",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10107353",
"found": true
},
"parent": 107353,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/Cfakepathandrearec5.jpg",
"width": 248,
"height": 140
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/Cfakepathandrearec5-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
}
},
"publishDate": 1347052733,
"modified": 1347052733,
"caption": null,
"description": null,
"title": "People Who Are Good People-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10107296": {
"type": "attachments",
"id": "arts_10107296",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10107296",
"found": true
},
"parent": 107296,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/Cfakepathjunot2484.jpg",
"width": 248,
"height": 140
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/Cfakepathjunot2484-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
}
},
"publishDate": 1346990333,
"modified": 1346990333,
"caption": null,
"description": null,
"title": "Guest DJ: Pulitzer Prize-Winning Author Junot Diaz-courtesy of author",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13829383": {
"type": "attachments",
"id": "arts_13829383",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13829383",
"found": true
},
"parent": 107207,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/Molly-Ringwald-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/Molly-Ringwald-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/Molly-Ringwald-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/Molly-Ringwald-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/Molly-Ringwald-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/Molly-Ringwald-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/Molly-Ringwald.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/Molly-Ringwald-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/Molly-Ringwald-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/Molly-Ringwald-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/Molly-Ringwald-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/Molly-Ringwald-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/Molly-Ringwald-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/Molly-Ringwald-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/Molly-Ringwald-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/Molly-Ringwald-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/Molly-Ringwald-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/Molly-Ringwald-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/Molly-Ringwald-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/Molly-Ringwald-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/Molly-Ringwald-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/09/Molly-Ringwald-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1523659150,
"modified": 1523659621,
"caption": "Molly Ringwald speaks with Honoree Laurie Simmons at the ICP's luncheon honoring Photographer/Filmmaker Laurie Simmons on November 1, 2016 in New York City. ",
"description": "Molly Ringwald speaks with Honoree Laurie Simmons at the ICP's luncheon honoring Photographer/Filmmaker Laurie Simmons on November 1, 2016 in New York City. ",
"title": "ICP Spotlights Luncheon Honoring Photography/Filmmaker Laurie Simmons",
"credit": "Nicholas Hunt/Getty Images for ICP",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10106797": {
"type": "attachments",
"id": "arts_10106797",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10106797",
"found": true
},
"parent": 106797,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/08/cupcakes248.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/08/cupcakes248-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/08/cupcakes248-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/08/cupcakes248-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/08/cupcakes248-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/08/cupcakes248-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1346305351,
"modified": 1346305351,
"caption": null,
"description": null,
"title": "Bay Area Native Emily Schuman's Cupcakes and Cashmere-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13829414": {
"type": "attachments",
"id": "arts_13829414",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13829414",
"found": true
},
"parent": 106759,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/08/Cassie-J-Sneider-520x520.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 520
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/08/Cassie-J-Sneider-960x576.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/08/Cassie-J-Sneider-160x160.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 160
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/08/Cassie-J-Sneider-960x960.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 960
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/08/Cassie-J-Sneider-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/08/Cassie-J-Sneider-375x375.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 375
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/08/Cassie-J-Sneider.jpg",
"width": 960,
"height": 960
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/08/Cassie-J-Sneider-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/08/Cassie-J-Sneider-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/08/Cassie-J-Sneider-800x800.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 800
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/08/Cassie-J-Sneider-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/08/Cassie-J-Sneider-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/08/Cassie-J-Sneider-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/08/Cassie-J-Sneider-768x768.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 768
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/08/Cassie-J-Sneider-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/08/Cassie-J-Sneider-240x240.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 240
}
},
"publishDate": 1523665823,
"modified": 1523666123,
"caption": "Cassie J. Sneider",
"description": "Cassie J. Sneider",
"title": "Cassie J Sneider",
"credit": "Alexandra Blair",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10106532": {
"type": "attachments",
"id": "arts_10106532",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10106532",
"found": true
},
"parent": 106532,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/08/millionrec.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/08/millionrec-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/08/millionrec-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/08/millionrec-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/08/millionrec-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/08/millionrec-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1345847163,
"modified": 1345847163,
"caption": null,
"description": null,
"title": "A Million Heavens-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10106451": {
"type": "attachments",
"id": "arts_10106451",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10106451",
"found": true
},
"parent": 106451,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/08/CfakepathChabonTelegraph248.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/08/CfakepathChabonTelegraph248-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/08/CfakepathChabonTelegraph248-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/08/CfakepathChabonTelegraph248-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/08/CfakepathChabonTelegraph248-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/08/CfakepathChabonTelegraph248-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1345782625,
"modified": 1345782625,
"caption": null,
"description": null,
"title": "Exclusive First Read: 'Telegraph Avenue'-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10106448": {
"type": "attachments",
"id": "arts_10106448",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10106448",
"found": true
},
"parent": 106448,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/08/CfakepathIMSuperman248.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/08/CfakepathIMSuperman248-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/08/CfakepathIMSuperman248-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/08/CfakepathIMSuperman248-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/08/CfakepathIMSuperman248-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/08/CfakepathIMSuperman248-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1345781071,
"modified": 1345781071,
"caption": null,
"description": null,
"title": "IM, IM, IM Superman: Morning-After Texts Between Superman, Wonder Woman-iStockphoto.comCredit: iStockphoto.com",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_107774": {
"type": "authors",
"id": "byline_arts_107774",
"meta": {
"override": true
},
"slug": "byline_arts_107774",
"name": "D. W. Lichtenberg",
"isLoading": false
},
"byline_arts_107773": {
"type": "authors",
"id": "byline_arts_107773",
"meta": {
"override": true
},
"slug": "byline_arts_107773",
"name": "Nate Waggoner",
"isLoading": false
},
"byline_arts_107772": {
"type": "authors",
"id": "byline_arts_107772",
"meta": {
"override": true
},
"slug": "byline_arts_107772",
"name": "Diana Salier",
"isLoading": false
},
"byline_arts_107776": {
"type": "authors",
"id": "byline_arts_107776",
"meta": {
"override": true
},
"slug": "byline_arts_107776",
"name": "Carmen Gimenez Smith",
"isLoading": false
},
"byline_arts_107353": {
"type": "authors",
"id": "byline_arts_107353",
"meta": {
"override": true
},
"slug": "byline_arts_107353",
"name": "Andrea Kneeland",
"isLoading": false
},
"byline_arts_107296": {
"type": "authors",
"id": "byline_arts_107296",
"meta": {
"override": true
},
"slug": "byline_arts_107296",
"name": "Jasmine Garsd",
"isLoading": false
},
"byline_arts_107207": {
"type": "authors",
"id": "byline_arts_107207",
"meta": {
"override": true
},
"slug": "byline_arts_107207",
"name": "Molly Ringwald",
"isLoading": false
},
"byline_arts_106759": {
"type": "authors",
"id": "byline_arts_106759",
"meta": {
"override": true
},
"slug": "byline_arts_106759",
"name": "Cassie J. Sneider",
"isLoading": false
},
"byline_arts_106532": {
"type": "authors",
"id": "byline_arts_106532",
"meta": {
"override": true
},
"slug": "byline_arts_106532",
"name": "John Brandon",
"isLoading": false
},
"byline_arts_106448": {
"type": "authors",
"id": "byline_arts_106448",
"meta": {
"override": true
},
"slug": "byline_arts_106448",
"name": "Glen Weldon",
"isLoading": false
},
"mlaufer": {
"type": "authors",
"id": "68",
"meta": {
"index": "authors_1716337520",
"id": "68",
"found": true
},
"name": "Monica Laufer",
"firstName": "Monica",
"lastName": "Laufer",
"slug": "mlaufer",
"email": "FAKE_mlaufer@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Monica is a life-long fashion lover. Starting with a subscription to \u003ci>Vogue\u003c/i> at the ripe age of ten, she began sketching designs and religiously following the industry. She later modeled with Nordstrom for several years, before heading to UC Berkeley to study Political Science and Public Policy. While at Berkeley, she continued to design as part of the advanced costume design program. Her style and love of fashion was honed while living in London during the winter of 2010. While there, she achieved her long-time dream of attending Fashion Week and eagerly took advantage of the amazing vintage shopping offered by Portobello Road.Monica now lives in San Francisco where she works as an advertising consultant by day and style blogger at \u003ca href=\"http://hemingwayandhandbags.blogspot.com/\">Hemingway & Handbags\u003c/a> by night.",
"avatar": "https://secure.gravatar.com/avatar/626b92b2bd6ca7173fdfe9d79763ed89?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"subscriber"
]
}
],
"headData": {
"title": "Monica Laufer | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/626b92b2bd6ca7173fdfe9d79763ed89?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/626b92b2bd6ca7173fdfe9d79763ed89?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/mlaufer"
}
},
"pagesReducer": {
"arts_category_literature": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"score": 12.793762
},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"title": "Books",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 114
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=literature",
"seeMore": false,
"paginated": true,
"page": 114
}
},
{
"blockName": "kqed/ad"
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_107774": {
"type": "posts",
"id": "arts_107774",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "107774",
"score": null,
"sort": [
1347666571000
]
},
"guestAuthors": [],
"slug": "our_generation",
"title": "Our Generation Is One of Moving Back in with Your Mother",
"publishDate": 1347666571,
"format": "audio",
"headTitle": "Our Generation Is One of Moving Back in with Your Mother | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Cancel whatever you’re doing on October 13, 2012 and take part in The Writers’ Block Lit Crawl event “\u003ca href=\"http://litcrawl.org/sf/events/new-kids-on-the-block/\">New Kids on the Block\u003c/a>,” featuring readings from a five-piece literati gang that rivals the swoon-worthy freshness of any ’80s boy band. Don’t forget your inhalers. Starring Andrea Kneeland, D.W. Lichtenberg, Diana Salier, Nate Waggoner, and Alli Warren.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "D.W. Lichtenberg, one of the five writers taking part in The Writers' Block Lit Crawl event \"New Kids on the Block\" on October 13th, reads \"Our Generation Is One of Moving Back in with Your Mother.\"",
"status": "publish",
"parent": 0,
"modified": 1726705729,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 3,
"wordCount": 69
},
"headData": {
"title": "Our Generation Is One of Moving Back in with Your Mother | KQED",
"description": "D.W. Lichtenberg, one of the five writers taking part in The Writers' Block Lit Crawl event "New Kids on the Block" on October 13th, reads "Our Generation Is One of Moving Back in with Your Mother."",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Our Generation Is One of Moving Back in with Your Mother",
"datePublished": "2012-09-14T16:49:31-07:00",
"dateModified": "2024-09-18T17:28:49-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sourceUrl": "http://www.kqed.org/arts/programs/writersblock/",
"audioUrl": "http://podcastdownload.npr.org/anon.npr-podcasts/podcast/151/510076/161462066/KQED_161462066.mp3",
"sticky": false,
"nprByline": "D. W. Lichtenberg",
"path": "/arts/107774/our_generation",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cancel whatever you’re doing on October 13, 2012 and take part in The Writers’ Block Lit Crawl event “\u003ca href=\"http://litcrawl.org/sf/events/new-kids-on-the-block/\">New Kids on the Block\u003c/a>,” featuring readings from a five-piece literati gang that rivals the swoon-worthy freshness of any ’80s boy band. Don’t forget your inhalers. Starring Andrea Kneeland, D.W. Lichtenberg, Diana Salier, Nate Waggoner, and Alli Warren.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/107774/our_generation",
"authors": [
"byline_arts_107774"
],
"categories": [
"arts_73"
],
"tags": [
"arts_330"
],
"featImg": "arts_10107774",
"label": "arts"
},
"arts_107773": {
"type": "posts",
"id": "arts_107773",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "107773",
"score": null,
"sort": [
1347666425000
]
},
"guestAuthors": [],
"slug": "april_3rd_2012",
"title": "April 3rd, 2012",
"publishDate": 1347666425,
"format": "audio",
"headTitle": "April 3rd, 2012 | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Cancel whatever you’re doing on October 13, 2012 and take part in The Writers’ Block Lit Crawl event “\u003ca href=\"http://litcrawl.org/sf/events/new-kids-on-the-block/\">New Kids on the Block\u003c/a>,” featuring readings from a five-piece literati gang that rivals the swoon-worthy freshness of any ’80s boy band. Don’t forget your inhalers. Starring Andrea Kneeland, D.W. Lichtenberg, Diana Salier, Nate Waggoner, and Alli Warren.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "Nate Waggoner, one of the five writers taking part in The Writers' Block Lit Crawl event \"New Kids on the Block\" on October 13th, reads a piece called \"April 3rd, 2012.\"",
"status": "publish",
"parent": 0,
"modified": 1726705733,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 3,
"wordCount": 69
},
"headData": {
"title": "April 3rd, 2012 | KQED",
"description": "Nate Waggoner, one of the five writers taking part in The Writers' Block Lit Crawl event "New Kids on the Block" on October 13th, reads a piece called "April 3rd, 2012."",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "April 3rd, 2012",
"datePublished": "2012-09-14T16:47:05-07:00",
"dateModified": "2024-09-18T17:28:53-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sourceUrl": "http://www.kqed.org/arts/programs/writersblock/",
"audioUrl": "http://podcastdownload.npr.org/anon.npr-podcasts/podcast/151/510076/162354514/KQED_162354514.mp3",
"sticky": false,
"nprByline": "Nate Waggoner",
"path": "/arts/107773/april_3rd_2012",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cancel whatever you’re doing on October 13, 2012 and take part in The Writers’ Block Lit Crawl event “\u003ca href=\"http://litcrawl.org/sf/events/new-kids-on-the-block/\">New Kids on the Block\u003c/a>,” featuring readings from a five-piece literati gang that rivals the swoon-worthy freshness of any ’80s boy band. Don’t forget your inhalers. Starring Andrea Kneeland, D.W. Lichtenberg, Diana Salier, Nate Waggoner, and Alli Warren.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/107773/april_3rd_2012",
"authors": [
"byline_arts_107773"
],
"categories": [
"arts_73"
],
"tags": [
"arts_330"
],
"featImg": "arts_10107773",
"label": "arts"
},
"arts_107772": {
"type": "posts",
"id": "arts_107772",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "107772",
"score": null,
"sort": [
1347666242000
]
},
"guestAuthors": [],
"slug": "letters_from_robots",
"title": "Letters from Robots",
"publishDate": 1347666242,
"format": "audio",
"headTitle": "Letters from Robots | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Cancel whatever you’re doing on October 13, 2012 and take part in The Writers’ Block Lit Crawl event “\u003ca href=\"http://litcrawl.org/sf/events/new-kids-on-the-block/\">New Kids on the Block\u003c/a>,” featuring readings from a five-piece literati gang that rivals the swoon-worthy freshness of any ’80s boy band. Don’t forget your inhalers. Starring Andrea Kneeland, D.W. Lichtenberg, Diana Salier, Nate Waggoner, and Alli Warren.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "Diana Salier, one of the five writers taking part in The Writers' Block Lit Crawl event \"New Kids on the Block\" on October 13th, reads selected poems from \u003ci>Letters to Robots\u003c/i>.",
"status": "publish",
"parent": 0,
"modified": 1726705737,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 3,
"wordCount": 69
},
"headData": {
"title": "Letters from Robots | KQED",
"description": "Diana Salier, one of the five writers taking part in The Writers' Block Lit Crawl event "New Kids on the Block" on October 13th, reads selected poems from Letters to Robots.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Letters from Robots",
"datePublished": "2012-09-14T16:44:02-07:00",
"dateModified": "2024-09-18T17:28:57-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sourceUrl": "http://www.kqed.org/arts/programs/writersblock/",
"audioUrl": "http://podcastdownload.npr.org/anon.npr-podcasts/podcast/151/510076/161866918/KQED_161866918.mp3",
"sticky": false,
"nprByline": "Diana Salier",
"path": "/arts/107772/letters_from_robots",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cancel whatever you’re doing on October 13, 2012 and take part in The Writers’ Block Lit Crawl event “\u003ca href=\"http://litcrawl.org/sf/events/new-kids-on-the-block/\">New Kids on the Block\u003c/a>,” featuring readings from a five-piece literati gang that rivals the swoon-worthy freshness of any ’80s boy band. Don’t forget your inhalers. Starring Andrea Kneeland, D.W. Lichtenberg, Diana Salier, Nate Waggoner, and Alli Warren.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/107772/letters_from_robots",
"authors": [
"byline_arts_107772"
],
"categories": [
"arts_73"
],
"tags": [
"arts_330"
],
"featImg": "arts_10107772",
"label": "arts"
},
"arts_107776": {
"type": "posts",
"id": "arts_107776",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "107776",
"score": null,
"sort": [
1347665997000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1347665997,
"format": "standard",
"title": "'Lose Her' Finds Power In Resonant Voices",
"headTitle": "‘Lose Her’ Finds Power In Resonant Voices | KQED",
"content": "\u003cp>Great fiction is built around characters that follow the fruitless and wrongheaded paths they’re offered, which is how readers savor safe passage into someone else’s impetuosity. Yunior, who first appeared in Junot Diaz’s debut collection, \u003cem>Drown,\u003c/em> is the narrator in several of the stories in the Pulitzer Prize–winning author’s third book, \u003cem>This Is How You Lose Her.\u003c/em> Yunior is now middle-aged, middle-class, a self-described \u003cem>sucio\u003c/em> struggling to mature into adulthood and not succeeding particularly well. Most of the stories here dissect Yunior’s reckless behavior, and all of them feature characters with a ham-fisted approach to love. The collection deals in different brands of exile, self-imposed or cultural, by which people are forced to live the paradoxical condition of both needing and rejecting connection.\u003c/p>\n\u003cp>From a laundry facility supervisor and the freshly emigrated employee looking to grift her way into the American dream to a family negotiating the decline of a charismatic son’s health, each story is merciless in its treatment of the heart’s desires and defenses. In the last pages of the story “The Cheater’s Guide to Love,” Yunior examines the Doomsday Book, a folder of material his ex-girlfriend leaves behind after their breakup:\u003c/p>\n\u003cblockquote>\n\u003cp>“And finally when you feel like you can do so without blowing into burning atoms, you open a folder … copies of all the emails and fotos from the cheating days and the ones the ex found and compiled and mailed to you a month after she ended it. \u003cem>Dear Yunior, for your next book.” \u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cem>\u003c/em>That “next book” would seem to be the book we have in hand, a book filled with revelations that offer the reader a deeper understanding of how one’s history informs one’s present.\u003c/p>\n\u003cp>Diaz banks on the appeal of his characters to balance their less palatable qualities: cruelty, abuse, infidelity. From story to story, he brandishes the force of these voices, almost always to strong effect. This complexity is one of the greatest appeals of Diaz’s work.\u003c/p>\n\u003cp>The dark ferocity of each of these stories and the types of love it portrays is reason enough to celebrate this book. But the collection is also a major contribution to the short story form. Although the title story’s ending falls flat, nearly every story exemplifies the beauty of Diaz’s minimalist and voice-driven writing. Like his hugely popular and heralded novel \u003cem>The Brief Wondrous Life of Oscar Wao\u003c/em>, the new book is written in a mix of Spanish, pop culture-speak and Americana, and reveals a perplexing web of labor, friendship and family. It is more realist and compressed than \u003cem>Oscar Wao\u003c/em>, but Diaz’s touch is unmistakable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In what may be the most poignant story, “Invierno,” Diaz tells the tale of a young Yunior and his brother when they’ve first arrived to the States from the Dominican Republic. It’s snowing, but they’re forbidden by their father to venture outside. Instead they watch the other children play. Diaz writes, “That night I dreamed of home, that we’d never left. … Learning to sleep in new places was an ability you were supposed to lose as you grew older, but I never had it.” This seems to be the condition of many of the characters in the book, aching to find home in resistant climates.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Yunior might some day rank with Philip Roth’s Nathan Zuckerman or John Updike’s Harry Angstrom as an enduring American literary protagonist who embodies the peculiar struggle men face as they make their way through their lives and the lives of the women they implicate in their folly. Yet Diaz inflects this struggle with the complicated particulars of cultural exile, of want and of the bravado that is born of fear. \u003cem>This Is How You Lose Her\u003c/em> is as funny as it is brutal, as complex as it is candid. It is an engrossing, ambitious book for readers who demand of their fiction both emotional precision and linguistic daring. \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=%27Lose+Her%27+Finds+Power+In+Resonant+Voices&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 720,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705050480,
"excerpt": "Junot Diaz's third book, \u003cem>This Is How You Lose Her\u003c/em>, is a collection of stories, many narrated by recurring character Yunior. Diaz's voice-driven prose describes characters who are simultaneously appealing and appalling, says NPR critic Carmen Gimenez Smith.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Junot Diaz's third book, This Is How You Lose Her, is a collection of stories, many narrated by recurring character Yunior. Diaz's voice-driven prose describes characters who are simultaneously appealing and appalling, says NPR critic Carmen Gimenez Smith.",
"title": "'Lose Her' Finds Power In Resonant Voices | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Lose Her' Finds Power In Resonant Voices",
"datePublished": "2012-09-14T16:39:57-07:00",
"dateModified": "2024-01-12T01:08:00-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "lose_her_finds_power_in_resonant_voices",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/literature/literature-nprbooks/",
"nprByline": "Carmen Gimenez Smith",
"sticky": false,
"path": "/arts/107776/lose_her_finds_power_in_resonant_voices",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Great fiction is built around characters that follow the fruitless and wrongheaded paths they’re offered, which is how readers savor safe passage into someone else’s impetuosity. Yunior, who first appeared in Junot Diaz’s debut collection, \u003cem>Drown,\u003c/em> is the narrator in several of the stories in the Pulitzer Prize–winning author’s third book, \u003cem>This Is How You Lose Her.\u003c/em> Yunior is now middle-aged, middle-class, a self-described \u003cem>sucio\u003c/em> struggling to mature into adulthood and not succeeding particularly well. Most of the stories here dissect Yunior’s reckless behavior, and all of them feature characters with a ham-fisted approach to love. The collection deals in different brands of exile, self-imposed or cultural, by which people are forced to live the paradoxical condition of both needing and rejecting connection.\u003c/p>\n\u003cp>From a laundry facility supervisor and the freshly emigrated employee looking to grift her way into the American dream to a family negotiating the decline of a charismatic son’s health, each story is merciless in its treatment of the heart’s desires and defenses. In the last pages of the story “The Cheater’s Guide to Love,” Yunior examines the Doomsday Book, a folder of material his ex-girlfriend leaves behind after their breakup:\u003c/p>\n\u003cblockquote>\n\u003cp>“And finally when you feel like you can do so without blowing into burning atoms, you open a folder … copies of all the emails and fotos from the cheating days and the ones the ex found and compiled and mailed to you a month after she ended it. \u003cem>Dear Yunior, for your next book.” \u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cem>\u003c/em>That “next book” would seem to be the book we have in hand, a book filled with revelations that offer the reader a deeper understanding of how one’s history informs one’s present.\u003c/p>\n\u003cp>Diaz banks on the appeal of his characters to balance their less palatable qualities: cruelty, abuse, infidelity. From story to story, he brandishes the force of these voices, almost always to strong effect. This complexity is one of the greatest appeals of Diaz’s work.\u003c/p>\n\u003cp>The dark ferocity of each of these stories and the types of love it portrays is reason enough to celebrate this book. But the collection is also a major contribution to the short story form. Although the title story’s ending falls flat, nearly every story exemplifies the beauty of Diaz’s minimalist and voice-driven writing. Like his hugely popular and heralded novel \u003cem>The Brief Wondrous Life of Oscar Wao\u003c/em>, the new book is written in a mix of Spanish, pop culture-speak and Americana, and reveals a perplexing web of labor, friendship and family. It is more realist and compressed than \u003cem>Oscar Wao\u003c/em>, but Diaz’s touch is unmistakable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In what may be the most poignant story, “Invierno,” Diaz tells the tale of a young Yunior and his brother when they’ve first arrived to the States from the Dominican Republic. It’s snowing, but they’re forbidden by their father to venture outside. Instead they watch the other children play. Diaz writes, “That night I dreamed of home, that we’d never left. … Learning to sleep in new places was an ability you were supposed to lose as you grew older, but I never had it.” This seems to be the condition of many of the characters in the book, aching to find home in resistant climates.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Yunior might some day rank with Philip Roth’s Nathan Zuckerman or John Updike’s Harry Angstrom as an enduring American literary protagonist who embodies the peculiar struggle men face as they make their way through their lives and the lives of the women they implicate in their folly. Yet Diaz inflects this struggle with the complicated particulars of cultural exile, of want and of the bravado that is born of fear. \u003cem>This Is How You Lose Her\u003c/em> is as funny as it is brutal, as complex as it is candid. It is an engrossing, ambitious book for readers who demand of their fiction both emotional precision and linguistic daring. \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=%27Lose+Her%27+Finds+Power+In+Resonant+Voices&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/107776/lose_her_finds_power_in_resonant_voices",
"authors": [
"byline_arts_107776"
],
"categories": [
"arts_1",
"arts_73"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10107776",
"label": "arts_137"
},
"arts_107353": {
"type": "posts",
"id": "arts_107353",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "107353",
"score": null,
"sort": [
1347052733000
]
},
"guestAuthors": [],
"slug": "people_who_are_good_people",
"title": "People Who Are Good People",
"publishDate": 1347052733,
"format": "audio",
"headTitle": "People Who Are Good People | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Cancel whatever you’re doing on October 13, 2012 and take part in The Writers’ Block Lit Crawl event “\u003ca href=\"http://litcrawl.org/sf/events/new-kids-on-the-block/\">New Kids on the Block\u003c/a>,” featuring readings from a five-piece literati gang that rivals the swoon-worthy freshness of any ’80s boy band. Don’t forget your inhalers. Starring Andrea Kneeland, D.W. Lichtenberg, Diana Salier, Nate Waggoner, and Alli Warren.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "Andrea Kneeland, one of the five writers taking part in The Writers' Block Lit Crawl event \"New Kids on the Block\" on October 13th, reads from her short story \"People Who Are Good People.\"",
"status": "publish",
"parent": 0,
"modified": 1726705741,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 3,
"wordCount": 69
},
"headData": {
"title": "People Who Are Good People | KQED",
"description": "Andrea Kneeland, one of the five writers taking part in The Writers' Block Lit Crawl event "New Kids on the Block" on October 13th, reads from her short story "People Who Are Good People."",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "People Who Are Good People",
"datePublished": "2012-09-07T14:18:53-07:00",
"dateModified": "2024-09-18T17:29:01-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sourceUrl": "http://www.kqed.org/arts/programs/writersblock/",
"audioUrl": "http://podcastdownload.npr.org/anon.npr-podcasts/podcast/151/510076/160779477/KQED_160779477.mp3",
"sticky": false,
"nprByline": "Andrea Kneeland",
"path": "/arts/107353/people_who_are_good_people",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cancel whatever you’re doing on October 13, 2012 and take part in The Writers’ Block Lit Crawl event “\u003ca href=\"http://litcrawl.org/sf/events/new-kids-on-the-block/\">New Kids on the Block\u003c/a>,” featuring readings from a five-piece literati gang that rivals the swoon-worthy freshness of any ’80s boy band. Don’t forget your inhalers. Starring Andrea Kneeland, D.W. Lichtenberg, Diana Salier, Nate Waggoner, and Alli Warren.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/107353/people_who_are_good_people",
"authors": [
"byline_arts_107353"
],
"categories": [
"arts_73"
],
"tags": [
"arts_330"
],
"featImg": "arts_10107353",
"label": "arts"
},
"arts_107296": {
"type": "posts",
"id": "arts_107296",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "107296",
"score": null,
"sort": [
1346986733000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1346986733,
"format": "standard",
"title": "Guest DJ: Pulitzer Prize-Winning Author Junot Diaz",
"headTitle": "Guest DJ: Pulitzer Prize-Winning Author Junot Diaz | KQED",
"content": "\u003cp>Dominican author Junot Diaz joins us this week on \u003cem>Alt.Latino\u003c/em>. Best known for his Pulitzer Prize-winning novel \u003ca href=\"http://www.npr.org/books/titles/137975217/the-brief-wondrous-life-of-oscar-wao\" target=\"_blank\" rel=\"noopener\">The Brief Wondrous Life of Oscar Wao\u003c/a>, Diaz is one of the most exciting contemporary Latin writers in the business. His new book, \u003ca href=\"http://www.npr.org/books/titles/160133753/this-is-how-you-lose-her\" target=\"_blank\" rel=\"noopener\">This Is How You Lose Her\u003c/a>, tells the story of a man’s downward spiral after his fiancée finds out about his numerous infidelities and leaves him. In true Diaz fashion, the book’s characters are charming, sad, hilarious and at times infuriating. One man’s life serves as a window into other issues, as well: the Caribbean exodus, sexism in Hispanic culture, the resilience of immigrant communities in America and more.\u003c/p>\n\u003cp>While we’d planned for a simple discussion with Diaz about his new book and the music he loves, we got more than we bargained for; the discussion felt like a get-together with old friends. Diaz (who thrilled us with kind words about \u003cem>Alt.Latino\u003c/em>), Felix Contreras and I discussed topics as lighthearted as dating and good places to eat Dominican food in D.C., but also as deep as the Afro-Caribbean diaspora and machismo in the Latin community.\u003c/p>\n\u003cp>Sit back, relax and join in on our conversation — it’s the crown jewel of \u003cem>Alt.Latino\u003c/em>‘s Guest DJ series.\u003c/p>\n\u003cp>—————————————————————————————\u003c/p>\n\u003cp>Esta semana en \u003cem>Alt.Latino\u003c/em>\u003cem>, \u003c/em>recibimos la visita del autor dominicano Junot Díaz, ganador del premio Pullitzer por su novela \u003cem>La maravillosa vida breve de Óscar Wao\u003c/em>. Díaz es uno de los autores que ha producido la literatura más conmovedora de los últimos tiempos, y su más reciente libro, \u003cem>Así es como la pierdes\u003c/em>, no es excepción. Se trata de cómo la vida de Yunior se desmorona luego de que su prometida descubre sus numerosas infidelidades y lo abandona. Es característico en la obra de Díaz, que los personajes provoquen risa, pena, compasión, furia y frustración. La historia de Yunior nos sirve para navegar otras temáticas: el éxodo del pueblo caribeño, el machismo en la cultura hispana, y la fortaleza de las comunidades inmigrantes en Estados Unidos.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Originalmente habíamos planeado una simple conversación con Díaz acerca de su nuevo libro y la música que el ama. Pero gratamente recibimos más de la cuenta, y la charla se convirtió en una especie de reunión amistosa. Diaz (que manifestó su admiración por nuestro programa), Félix y yo hablamos sobre temas como los mejores lugares de comida dominicana aquí en Washington D.C., pero también acerca de temas impactantes como la diáspora afro-caribeña y la cosificación de la mujer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Una de nuestras mejores entrevistas. Pero dedíquenle atención al programa de esta semana — y hágannos saber su opinión. \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=Guest+DJ%3A+Pulitzer+Prize-Winning+Author+Junot+Diaz&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 558,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705050500,
"excerpt": "Diaz stops by \u003cem>Alt.Latino\u003c/em> to talk about books, music, immigration, the Caribbean diaspora, machismo and why so many men relate to Oscar Wao. And, of course, he picks an exciting assortment of bachata and urban merengue to play on the show.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Diaz stops by Alt.Latino to talk about books, music, immigration, the Caribbean diaspora, machismo and why so many men relate to Oscar Wao. And, of course, he picks an exciting assortment of bachata and urban merengue to play on the show.",
"title": "Guest DJ: Pulitzer Prize-Winning Author Junot Diaz | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Guest DJ: Pulitzer Prize-Winning Author Junot Diaz",
"datePublished": "2012-09-06T19:58:53-07:00",
"dateModified": "2024-01-12T01:08:20-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "guest_dj_junot_diaz",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/literature/literature-nprbooks/",
"nprByline": "Jasmine Garsd",
"sticky": false,
"path": "/arts/107296/guest_dj_junot_diaz",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dominican author Junot Diaz joins us this week on \u003cem>Alt.Latino\u003c/em>. Best known for his Pulitzer Prize-winning novel \u003ca href=\"http://www.npr.org/books/titles/137975217/the-brief-wondrous-life-of-oscar-wao\" target=\"_blank\" rel=\"noopener\">The Brief Wondrous Life of Oscar Wao\u003c/a>, Diaz is one of the most exciting contemporary Latin writers in the business. His new book, \u003ca href=\"http://www.npr.org/books/titles/160133753/this-is-how-you-lose-her\" target=\"_blank\" rel=\"noopener\">This Is How You Lose Her\u003c/a>, tells the story of a man’s downward spiral after his fiancée finds out about his numerous infidelities and leaves him. In true Diaz fashion, the book’s characters are charming, sad, hilarious and at times infuriating. One man’s life serves as a window into other issues, as well: the Caribbean exodus, sexism in Hispanic culture, the resilience of immigrant communities in America and more.\u003c/p>\n\u003cp>While we’d planned for a simple discussion with Diaz about his new book and the music he loves, we got more than we bargained for; the discussion felt like a get-together with old friends. Diaz (who thrilled us with kind words about \u003cem>Alt.Latino\u003c/em>), Felix Contreras and I discussed topics as lighthearted as dating and good places to eat Dominican food in D.C., but also as deep as the Afro-Caribbean diaspora and machismo in the Latin community.\u003c/p>\n\u003cp>Sit back, relax and join in on our conversation — it’s the crown jewel of \u003cem>Alt.Latino\u003c/em>‘s Guest DJ series.\u003c/p>\n\u003cp>—————————————————————————————\u003c/p>\n\u003cp>Esta semana en \u003cem>Alt.Latino\u003c/em>\u003cem>, \u003c/em>recibimos la visita del autor dominicano Junot Díaz, ganador del premio Pullitzer por su novela \u003cem>La maravillosa vida breve de Óscar Wao\u003c/em>. Díaz es uno de los autores que ha producido la literatura más conmovedora de los últimos tiempos, y su más reciente libro, \u003cem>Así es como la pierdes\u003c/em>, no es excepción. Se trata de cómo la vida de Yunior se desmorona luego de que su prometida descubre sus numerosas infidelidades y lo abandona. Es característico en la obra de Díaz, que los personajes provoquen risa, pena, compasión, furia y frustración. La historia de Yunior nos sirve para navegar otras temáticas: el éxodo del pueblo caribeño, el machismo en la cultura hispana, y la fortaleza de las comunidades inmigrantes en Estados Unidos.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Originalmente habíamos planeado una simple conversación con Díaz acerca de su nuevo libro y la música que el ama. Pero gratamente recibimos más de la cuenta, y la charla se convirtió en una especie de reunión amistosa. Diaz (que manifestó su admiración por nuestro programa), Félix y yo hablamos sobre temas como los mejores lugares de comida dominicana aquí en Washington D.C., pero también acerca de temas impactantes como la diáspora afro-caribeña y la cosificación de la mujer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Una de nuestras mejores entrevistas. Pero dedíquenle atención al programa de esta semana — y hágannos saber su opinión. \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=Guest+DJ%3A+Pulitzer+Prize-Winning+Author+Junot+Diaz&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/107296/guest_dj_junot_diaz",
"authors": [
"byline_arts_107296"
],
"categories": [
"arts_1",
"arts_73"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10107296",
"label": "arts_137"
},
"arts_107207": {
"type": "posts",
"id": "arts_107207",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "107207",
"score": null,
"sort": [
1346892784000
]
},
"guestAuthors": [],
"slug": "when_it_happens_to_you",
"title": "'When It Happens to You'",
"publishDate": 1346892784,
"format": "audio",
"headTitle": "‘When It Happens to You’ | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Tales of love, loss, and betrayal are at the heart of \u003ci>When It Happens to You\u003c/i>, the debut story collection from actress and author Molly Ringwald. A Hollywood icon, Ringwald defined the teenage experience in the eighties in such classic films as \u003ci>Pretty in Pink\u003c/i>, \u003ci>The Breakfast Club\u003c/i>, and \u003ci>Sixteen Candles\u003c/i>. Now the star of ABC Family’s hit series, \u003ci>The Secret Life of the American Teenager\u003c/i>, and author of the bestselling memoir \u003ci>Getting the Pretty Back\u003c/i>, Ringwald brings that same compelling candor she displayed in her film roles to the unforgettable characters she has created in this series of linked stories about the particular challenges, joys, and disappointments of adult relationships. Here are stories that grapple with infertility and infidelity, fame and familial discord, in a magnificent collection that will resonate broadly with readers — from fans of Melissa Banks to Meg Wolitzer to Lorrie Moore.\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio//2018/04/KQED160708252.mp3\" title=\"Listen to Molly Ringwald read an excerpt from \u003ci>When It Happens to You\u003c/i>\" program=\"The Writers' Block\" image=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/09/Molly-Ringwald.jpg\"]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "Molly Ringwald, everyone's favorite redhead from movies like \u003ci>Sixteen Candles\u003c/i>, \u003ci>Pretty in Pink\u003c/i>, and \u003ci>The Breakfast Club\u003c/i>, reads from her first novel, \u003ci>When It Happens to You\u003c/i>.",
"status": "publish",
"parent": 0,
"modified": 1726705746,
"stats": {
"hasAudio": true,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 3,
"wordCount": 197
},
"headData": {
"title": "'When It Happens to You' | KQED",
"description": "Molly Ringwald, everyone's favorite redhead from movies like Sixteen Candles, Pretty in Pink, and The Breakfast Club, reads from her first novel, When It Happens to You.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'When It Happens to You'",
"datePublished": "2012-09-05T17:53:04-07:00",
"dateModified": "2024-09-18T17:29:06-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sourceUrl": "http://www.kqed.org/arts/programs/writersblock/",
"audioUrl": "https://www.kqed.org/.stream/anon/radio//2018/04/KQED160708252.mp3",
"sticky": false,
"nprByline": "Molly Ringwald",
"path": "/arts/107207/when_it_happens_to_you",
"audioDuration": null,
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tales of love, loss, and betrayal are at the heart of \u003ci>When It Happens to You\u003c/i>, the debut story collection from actress and author Molly Ringwald. A Hollywood icon, Ringwald defined the teenage experience in the eighties in such classic films as \u003ci>Pretty in Pink\u003c/i>, \u003ci>The Breakfast Club\u003c/i>, and \u003ci>Sixteen Candles\u003c/i>. Now the star of ABC Family’s hit series, \u003ci>The Secret Life of the American Teenager\u003c/i>, and author of the bestselling memoir \u003ci>Getting the Pretty Back\u003c/i>, Ringwald brings that same compelling candor she displayed in her film roles to the unforgettable characters she has created in this series of linked stories about the particular challenges, joys, and disappointments of adult relationships. Here are stories that grapple with infertility and infidelity, fame and familial discord, in a magnificent collection that will resonate broadly with readers — from fans of Melissa Banks to Meg Wolitzer to Lorrie Moore.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "audio",
"attributes": {
"named": {
"src": "https://www.kqed.org/.stream/anon/radio//2018/04/KQED160708252.mp3",
"title": "Listen to Molly Ringwald read an excerpt from \u003ci>When It Happens to You\u003c/i>",
"program": "The Writers' Block",
"image": "https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/09/Molly-Ringwald.jpg",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/107207/when_it_happens_to_you",
"authors": [
"byline_arts_107207"
],
"categories": [
"arts_73"
],
"tags": [
"arts_330"
],
"featImg": "arts_13829383",
"label": "arts"
},
"arts_106797": {
"type": "posts",
"id": "arts_106797",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "106797",
"score": null,
"sort": [
1346301751000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1346301751,
"format": "standard",
"title": "Bay Area Native Emily Schuman's Cupcakes and Cashmere",
"headTitle": "Bay Area Native Emily Schuman’s Cupcakes and Cashmere | KQED",
"content": "\u003cp>\u003ci>Cupcakes and Cashmere\u003c/i> could not have been on my coffee table for more than an hour before my house guests began quizzing me about it. “Who is this?” they asked about the beautiful blonde on the cover, effortlessly coiffed and casually strolling down the beach with a bunch of balloons. With such an ambiguous title and cover art, their confusion is unsurprising, but their intrigue understandable.\u003c/p>\n\u003cp>Author Emily Schuman (also the cover model), a Bay Area native, is a leader in the emerging blogger profession. While blogs have been a part of Internet culture for over a decade, the niche for blogging professionals has only existed for about half that time. Mass followings and daily readers have allowed bloggers to establish themselves as experts on the topic, or topics, of their choosing. As is the case with Schuman, this expertise then translates to the offline world. Named one of Forbes’ 20 Best Fashion Blogs for Professional Women and one of the “Best of the Web” by InStyle Magazine, Schuman has become a frequent contributor to leading publications in the fashion industry. \u003c/p>\n\u003cp>Four years after starting her blog, Schuman has now expanded her voice with the release of \u003ci>Cupcakes and Cashmere\u003c/i>. In her introduction to the book, she says her motivation for writing has always been “to focus on the little things that bring happiness… to incorporate a variety of topics including fashion, food, interior design, beauty, and entertaining.” The book, inspired by \u003ca href=\"http://cupcakesandcashmere.com/\">her blog\u003c/a> (and given the same name), is intended to provide a deeper dive into the areas Schuman discusses on a daily basis within the blogosphere.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/08/29/cupcakes.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>Categorized by seasons, the book has four parts. Each section breaks down Schuman’s seasonal recommendations for dressing, her beauty routine, and holiday-appropriate sweet treats. While for beauty, fashion, and entertaining, this organization is logical, it fails to be relevant to all of the areas the book details. The chapters on subjects like shopping at flea markets and organizing your home office seem off-theme within the book’s seasonal structure. Although in this writer’s opinion, all the topics are well selected and pertinent to Schuman’s audience.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Beyond the initial confusion readers may experience with the structure, both avid followers and those unfamiliar with Schuman’s blog (like my house guests) are sure to recognize her expertise in the areas the book covers. With sections detailing a range of topics from seasonally appropriate wardrobe color schemes to how to layer jewelry to making winter cocktails, Schuman breaks down many untaught, yet essential skills and knowledge for young women, consolidated into a single volume. Equipped with full-page instructional photographs, and detailed step-by-step instructions, Schuman has created a novel reference book that will remain in its easily accessible spot on my coffee table for a long time to come.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 486,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705050519,
"excerpt": "With sections detailing a range of topics from seasonally appropriate wardrobe color schemes to how to layer jewelry to making winter cocktails, Schuman breaks down many untaught, yet essential skills and knowledge for young women.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "With sections detailing a range of topics from seasonally appropriate wardrobe color schemes to how to layer jewelry to making winter cocktails, Schuman breaks down many untaught, yet essential skills and knowledge for young women.",
"title": "Bay Area Native Emily Schuman's Cupcakes and Cashmere | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Bay Area Native Emily Schuman's Cupcakes and Cashmere",
"datePublished": "2012-08-29T21:42:31-07:00",
"dateModified": "2024-01-12T01:08:39-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "sf_native_emily_schumans_cupcakes_and_cashmere",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/literature/literature-review/",
"sticky": false,
"path": "/arts/106797/sf_native_emily_schumans_cupcakes_and_cashmere",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Cupcakes and Cashmere\u003c/i> could not have been on my coffee table for more than an hour before my house guests began quizzing me about it. “Who is this?” they asked about the beautiful blonde on the cover, effortlessly coiffed and casually strolling down the beach with a bunch of balloons. With such an ambiguous title and cover art, their confusion is unsurprising, but their intrigue understandable.\u003c/p>\n\u003cp>Author Emily Schuman (also the cover model), a Bay Area native, is a leader in the emerging blogger profession. While blogs have been a part of Internet culture for over a decade, the niche for blogging professionals has only existed for about half that time. Mass followings and daily readers have allowed bloggers to establish themselves as experts on the topic, or topics, of their choosing. As is the case with Schuman, this expertise then translates to the offline world. Named one of Forbes’ 20 Best Fashion Blogs for Professional Women and one of the “Best of the Web” by InStyle Magazine, Schuman has become a frequent contributor to leading publications in the fashion industry. \u003c/p>\n\u003cp>Four years after starting her blog, Schuman has now expanded her voice with the release of \u003ci>Cupcakes and Cashmere\u003c/i>. In her introduction to the book, she says her motivation for writing has always been “to focus on the little things that bring happiness… to incorporate a variety of topics including fashion, food, interior design, beauty, and entertaining.” The book, inspired by \u003ca href=\"http://cupcakesandcashmere.com/\">her blog\u003c/a> (and given the same name), is intended to provide a deeper dive into the areas Schuman discusses on a daily basis within the blogosphere.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/08/29/cupcakes.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>Categorized by seasons, the book has four parts. Each section breaks down Schuman’s seasonal recommendations for dressing, her beauty routine, and holiday-appropriate sweet treats. While for beauty, fashion, and entertaining, this organization is logical, it fails to be relevant to all of the areas the book details. The chapters on subjects like shopping at flea markets and organizing your home office seem off-theme within the book’s seasonal structure. Although in this writer’s opinion, all the topics are well selected and pertinent to Schuman’s audience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Beyond the initial confusion readers may experience with the structure, both avid followers and those unfamiliar with Schuman’s blog (like my house guests) are sure to recognize her expertise in the areas the book covers. With sections detailing a range of topics from seasonally appropriate wardrobe color schemes to how to layer jewelry to making winter cocktails, Schuman breaks down many untaught, yet essential skills and knowledge for young women, consolidated into a single volume. Equipped with full-page instructional photographs, and detailed step-by-step instructions, Schuman has created a novel reference book that will remain in its easily accessible spot on my coffee table for a long time to come.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/106797/sf_native_emily_schumans_cupcakes_and_cashmere",
"authors": [
"68"
],
"categories": [
"arts_73"
],
"tags": [
"arts_596",
"arts_769"
],
"featImg": "arts_10106797",
"label": "arts"
},
"arts_106759": {
"type": "posts",
"id": "arts_106759",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "106759",
"score": null,
"sort": [
1346268806000
]
},
"guestAuthors": [],
"slug": "fine_fine_music",
"title": "'Fine Fine Music'",
"publishDate": 1346268806,
"format": "audio",
"headTitle": "‘Fine Fine Music’ | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>\u003ci>Fine Fine Music\u003c/i> is a collection of stories about the other side of rock and roll and coming of age in the land that time forgot. Lake Ronkonkoma is stuck in 1981, an alcoholic blackout of unnaturally tan people waxing their Camaros to Foreigner on cassette and knowing the words to every Billy Joel song whether you want to or not. From an internship making Seamonkey costumes, a childhood fear of My Buddy dolls, and a heartbreaking crush on Aerosmith, funny lady Cassie J. Sneider delivers her tales of growing up in a land of fist-pumping Snookies with the antagonistic wit of a record store clerk.\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio//2018/04/KQED160285338.mp3\" title=\"Listen to Cassie J. Sneider read an excerpt from \u003ci>Fine Fine Music\u003c/i>\" program=\"The Writers' Block\" image=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/08/Cassie-J-Sneider.jpg\"]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "Cassie J. Sneider reads \"Sugar Sugar,\" a story from her hilarious collection \u003ci>Fine Fine Music\u003c/i> about the hazardous effects of being forced to wear a sexy wizard costume for Halloween at the age of 10.",
"status": "publish",
"parent": 0,
"modified": 1726705751,
"stats": {
"hasAudio": true,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 3,
"wordCount": 156
},
"headData": {
"title": "'Fine Fine Music' | KQED",
"description": "Cassie J. Sneider reads "Sugar Sugar," a story from her hilarious collection Fine Fine Music about the hazardous effects of being forced to wear a sexy wizard costume for Halloween at the age of 10.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Fine Fine Music'",
"datePublished": "2012-08-29T12:33:26-07:00",
"dateModified": "2024-09-18T17:29:11-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sourceUrl": "https://www.kqed.org/arts/program/the-writers-block",
"audioUrl": "https://www.kqed.org/.stream/anon/radio//2018/04/KQED160285338.mp3",
"sticky": false,
"nprByline": "Cassie J. Sneider",
"path": "/arts/106759/fine_fine_music",
"audioDuration": null,
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Fine Fine Music\u003c/i> is a collection of stories about the other side of rock and roll and coming of age in the land that time forgot. Lake Ronkonkoma is stuck in 1981, an alcoholic blackout of unnaturally tan people waxing their Camaros to Foreigner on cassette and knowing the words to every Billy Joel song whether you want to or not. From an internship making Seamonkey costumes, a childhood fear of My Buddy dolls, and a heartbreaking crush on Aerosmith, funny lady Cassie J. Sneider delivers her tales of growing up in a land of fist-pumping Snookies with the antagonistic wit of a record store clerk.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "audio",
"attributes": {
"named": {
"src": "https://www.kqed.org/.stream/anon/radio//2018/04/KQED160285338.mp3",
"title": "Listen to Cassie J. Sneider read an excerpt from \u003ci>Fine Fine Music\u003c/i>",
"program": "The Writers' Block",
"image": "https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/08/Cassie-J-Sneider.jpg",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/106759/fine_fine_music",
"authors": [
"byline_arts_106759"
],
"categories": [
"arts_73"
],
"tags": [
"arts_330"
],
"featImg": "arts_13829414",
"label": "arts"
},
"arts_106532": {
"type": "posts",
"id": "arts_106532",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "106532",
"score": null,
"sort": [
1345847163000
]
},
"guestAuthors": [],
"slug": "a_million_heavens",
"title": "A Million Heavens",
"publishDate": 1345847163,
"format": "audio",
"headTitle": "A Million Heavens | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>On the top floor of a small hospital, an unlikely piano prodigy lies in a coma, attended to by his gruff, helpless father. Outside the clinic, a motley vigil assembles beneath a reluctant New Mexico winter — strangers in search of answers, a brush with the mystical, or just an escape. To some, the boy is a novelty, to others a religion. Just beyond this ragtag circle roams a disconsolate wolf on his nightly rounds, protecting and threatening, learning too much. And above them all, a would-be angel sits captive in a holding cell of the afterlife, finishing the work he began on earth, writing the songs that could free him. This unlikely assortment — a small-town mayor, a vengeful guitarist, all the unseen desert lives — unites to weave a persistently hopeful story of improbable communion.\u003c/p>\n\u003cp>Upon the release of John Brandon’s last novel, \u003ci>Citrus County\u003c/i>, the \u003ci>New York Times\u003c/i> declared that he “joins the ranks of writers like Denis Johnson, Joy Williams, Mary Robison and Tom Drury.” Now, with \u003ci>A Million Heavens\u003c/i>, Brandon brings his deadpan humor and hard-won empathy to a new realm of gritty surrealism — a surprising and exciting turn from one of the best young novelists of our time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "John Brandon, author of the much acclaimed \u003ci>Citrus County\u003c/i>, reads a passage from his latest, \u003ci>A Million Heavens\u003c/i>.",
"status": "publish",
"parent": 0,
"modified": 1726705755,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 4,
"wordCount": 214
},
"headData": {
"title": "A Million Heavens | KQED",
"description": "John Brandon, author of the much acclaimed Citrus County, reads a passage from his latest, A Million Heavens.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Million Heavens",
"datePublished": "2012-08-24T15:26:03-07:00",
"dateModified": "2024-09-18T17:29:15-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sourceUrl": "http://www.kqed.org/arts/programs/writersblock/",
"audioUrl": "http://podcastdownload.npr.org/anon.npr-podcasts/podcast/151/510076/160021565/KQED_160021565.mp3",
"sticky": false,
"nprByline": "John Brandon",
"path": "/arts/106532/a_million_heavens",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the top floor of a small hospital, an unlikely piano prodigy lies in a coma, attended to by his gruff, helpless father. Outside the clinic, a motley vigil assembles beneath a reluctant New Mexico winter — strangers in search of answers, a brush with the mystical, or just an escape. To some, the boy is a novelty, to others a religion. Just beyond this ragtag circle roams a disconsolate wolf on his nightly rounds, protecting and threatening, learning too much. And above them all, a would-be angel sits captive in a holding cell of the afterlife, finishing the work he began on earth, writing the songs that could free him. This unlikely assortment — a small-town mayor, a vengeful guitarist, all the unseen desert lives — unites to weave a persistently hopeful story of improbable communion.\u003c/p>\n\u003cp>Upon the release of John Brandon’s last novel, \u003ci>Citrus County\u003c/i>, the \u003ci>New York Times\u003c/i> declared that he “joins the ranks of writers like Denis Johnson, Joy Williams, Mary Robison and Tom Drury.” Now, with \u003ci>A Million Heavens\u003c/i>, Brandon brings his deadpan humor and hard-won empathy to a new realm of gritty surrealism — a surprising and exciting turn from one of the best young novelists of our time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/106532/a_million_heavens",
"authors": [
"byline_arts_106532"
],
"categories": [
"arts_73"
],
"tags": [
"arts_330"
],
"featImg": "arts_10106532",
"label": "arts"
},
"arts_106451": {
"type": "posts",
"id": "arts_106451",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "106451",
"score": null,
"sort": [
1345779025000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1345779025,
"format": "standard",
"title": "Exclusive First Read: 'Telegraph Avenue'",
"headTitle": "Exclusive First Read: ‘Telegraph Avenue’ | KQED",
"content": "\u003cp>\u003cem>Michael Chabon sets his sprawling new novel, \u003c/em>Telegraph Avenue,\u003cem> in his adopted home of Berkeley, Calif., and its grittier southern neighbor, Oakland. With its multiracial, multigenerational cast of jazz musicians, former blaxploitation stars, midwives, gay teens and Black Panthers-turned-politicians, the book both celebrates and gently sends up the countercultural norms and complex racial politics of East Bay life. The plot nominally revolves around Archy Stallings’ and Nat Jaffe’s efforts to save their used-record store (located on the eponymous Telegraph Avenue), which is threatened when a black football legend and entrepreneur makes plans to locate a media megastore in the neighborhood. This exclusive excerpt finds Nat’s wife, Aviva — “the Alice Waters of midwives” — presiding over a home birth with her business partner, Archy’s wife, Gwen. The episode is part of a very long day for Gwen, who has just caught Archy with another woman. Telegraph Avenue will be published Sept. 11.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003ch6>PARENTS’ ADVISORY: This excerpt contains adult content and language that some readers may find offensive.\u003cem> \u003c/em>\u003c/h6>\n\n\u003chr>\n\u003cp>“Hello?” Gwen called, letting herself in the front door. A small black Buddha greeted her from a low table by the front door, where it kept company with a photograph of Lydia Frankenthaler, the producer of an Oscar-winning documentary film about the neglected plight of lesbians in Nazi Germany; Lydia’s partner, Garth; and Lydia’s daughter from her first marriage, a child whose father was black and whose name Gwen had forgotten. It was a Chinese Buddha, the kind that was supposed to pull in money and luck, jolly, babyfaced, and potbellied, reminding Gwen of her darling husband apart from the signal difference that you could rub the continental expanse of Archy Stallings’s abdomen for a very long time without attracting any flow of money in your direction. “Somebody having a baby around here?”\u003c/p>\n\u003cp>“In here, Gwen,” Aviva said.\u003c/p>\n\u003cp>Lydia and Garth, a lawyer for the poor, were having their baby in their living room. It was a large room with a vaulted ceiling and nothing between it and the canyon but a wall of solid glass. The girl — Arabia, Alabama, she had a geographical name — sat marveling blankly at the spectacle of her naked mother reposed like an abstract chunk of marble sculpture in the center of the room. Against her legs the girl held a rectangle of cardstock to which she had pasted the three pages of her mother’s birth plan, decorating the borders in four colors of marker with flowers and vines and a happy-looking fetus labeled BELLA. Two low sofas had been pushed to the sides of the room to make space for a wide flat sandwich crafted from a tatami mat, a slab of egg-carton foam rubber, and a shower curtain decorated with a giant self-portrait of Frida Kahlo. Garth, a small-boned, thin-shanked man with a red beard and red stubble on his head, lay sleeping on the improvised bed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m at nine!” said Lydia by way of greeting, adding whatever comment was provided by her spread, furryish butt cheeks and the backs of her legs as she bent over in the downward-facing-dog position to grab two handfuls of floor. “A hundred percent effaced.”\u003c/p>\n\u003cp>“I’ve been trying to persuade her to try a little push,” said Aviva. She tilted back on her haunches, down on the floor beside Lydia, studying the looming pale elderly secundigravida. Disapproving of the woman, but only Gwen would have caught it, the lips pursed to the left as if with holding a kiss. Barefoot in a loose cotton shift over black ripstop pedal pushers, the roiling surf of her black hair, with its silver eddies, pulled back and tied in a sloppy bun. Stubble showing blue against her luminous shins. Toenails painted a deep cocoa red like the skin of Archy’s Queen of Sheba. “But all Mom wants to do is goof around like that.”\u003c/p>\n\u003cp>“I don’t want to push,” Lydia said. A string of pain drew and cinched her voice, a yogic voice, inverted and tied carefully to the rhythm of her breathing. “Is it okay, Gwen? Can’t I just stay this way for a little while longer? It feels a lot better.”\u003c/p>\n\u003cp>If Aviva said it was time to try a little push, then it was, in Gwen’s view, time to try a little push. You did not get to be the Alice Waters of Midwives by leaving your gratins in the oven too long.\u003c/p>\n\u003cp>“Well, you’ve got gravity working for you,” Gwen tried, less inclined than her partner to patience or politeness but good for at least one go-round with an upside-down naked lady in labor. “But if anybody ever pushed out a baby in that jackknife thing you’ve got working right there, Lydia, then I never heard about it.”\u003c/p>\n\u003cp>“It could be interesting,” Aviva said. “Now that you mention it. Maybe you should give it a try.” The words were humorous, but her tone continued to be critical, at least to Gwen’s ear.\u003c/p>\n\u003cp>“Let me just wash my hands and whatnot, and then I’ll fire up my Doppler and see what’s happening in there,” Gwen said, dropping her bag on a black leather armchair. “Hi, honey.” \u003cem>Arcadia\u003c/em>. “What do you think of all this, Miss Arcadia?”\u003c/p>\n\u003cp>The girl shrugged, eyes wide and teary but not despairing. Without cant or reference to the threefold moon goddess or other such nonsense, it was a deep and solemn business that they were about in this room, and nobody was going to feel that, in all its fathomlessness, like a kid. Certainly not old Garth over there, sacked out with one toe poking out of his left sock and sleep working the bellows of his skinny frame.\u003c/p>\n\u003cp>“Kind of gross,” the girl said, hoisting the birth plan higher as if to shield herself from the grossness of it. Article Seven requested that the umbilical cord not be cut until the placenta had ceased to pump. Article Twelve was some kind of nonsense about the use of artificial light. Gwen was not one to disrespect a well-made birth plan, but there were always wishful thinking and juju involved, and when things went the way they were going to go, as they must, many plans took on a retrospective air of foolishness. “No offense, Mom.”\u003c/p>\n\u003cp>“You don’t.” The string cinching tighter. “Have to. Watch it, baby. I told you — “\u003c/p>\n\u003cp>“I want to stay.”\u003c/p>\n\u003cp>“Gross can be interesting,” Gwen said. “Huh?” Arcadia nodded.\u003c/p>\n\u003cp>Lydia lowered her hips and sank to her knees, giving way like a sand castle, and on all fours she rested, head hung, eyes closed, as if about to pantomime some animal behavior. “I’m going to push now,” she announced. In the same stewardessy voice, she added, “Everyone please shut up.”\u003c/p>\n\u003cp>Her tone was wrong and startling, like a struck wineglass with a secret flaw, and at once Garth sat up and gaped at Gwen, blinking, wiping his lips with his sleeve. “What’s wrong?” he said. His eyes came unstuck from Gwen’s, and he looked around, kicking up from the deep-sea trench of a dream, looking for his new baby, finding his wife, who was seeing nothing at all.\u003c/p>\n\u003cp>“Everything’s fine, sweetie,” Aviva said. “Only we’re going to need Frida Kahlo.”\u003c/p>\n\u003cp>Gwen went into the kitchen to drink a glass of water and, in the name of asepsis if not pride, eradicate every last whiff of Elsabet Getachew from her hands. \u003cem>No excuse for you — \u003c/em>that was sterling dialogue. She strangled the renascent memory of her shame with a pair of latex-free gloves. When she came back into the living room, she saw that Frida Kahlo had been veiled with an orange bath towel. Lydia lay on her back, propped up on an old plaid bolster, pale abdomen shot like an eyeball with capillaries, making a new kind of low growling sound that built slowly to an energetic whoop and flowered in a burst of foul language that made everybody laugh.\u003c/p>\n\u003cp>“Good one,” Aviva said. “Good one.”\u003c/p>\n\u003cp>Though Aviva had caught a thousand babies with hands that were steady and adept, now that it was time, she deferred to her partner, to the virtuoso hands of Gwen Shanks, freaky-big, fluid as a couple of tide-pool dwellers, cabled like the Golden Gate Bridge.\u003c/p>\n\u003cp>As Aviva gave way to Gwen, she tried by means of her powerfully signifying eyebrows to communicate that she felt something in this situation to be amiss, something not provided for in the birth plan, which lay sagging and looped onto itself under the little girl’s chair. Aviva’s apparent psychic ability to know in advance when something might go wrong, especially in the context of a birth, was not merely the statistical fruit of an abiding pessimism. Skeptic that she was, Gwen had seen Aviva make unlikely but correct predictions of disaster too many times to discount. Gwen frowned, trying to see or feel what Aviva had detected, coming up short. By the time she turned to Lydia, every trace of the frown had been blown away.\u003c/p>\n\u003cp>“Okay,” she said, “let’s see what little old Miss Bella is up to.”\u003c/p>\n\u003cp>Gwen lowered herself by inches and prayers to the floor and, when she arrived, saw that the inner labia of Lydia Frankenthaler had conformed themselves into a fiery circle. A smear of fluid and hair presented its credentials at this checkpoint, advance man for the imminently arriving ambassadress from afar.\u003c/p>\n\u003cp>“You’re working fast now,” Gwen said. “You’re crowning. Here we go. Oh my goodness.”\u003c/p>\n\u003cp>“Lydia, honey, remember how you said you really didn’t want to push,” Aviva said, climbing in alongside Gwen, “well, now I would actually like you to stop. Stop pushing. Just let her — “\u003c/p>\n\u003cp>“Coming fast,” Gwen said. “Look out.”\u003c/p>\n\u003cp>There was a ripple of liquid and skin, then with a vaginal sigh, the little girl squirted face-up into Gwen’s wide hands. The small eyes were open, nebular, and dull, but in the instant before she cried out, they ignited, and the child seemed to regard Gwen Shanks. The air was filled with a hot smell between sex and butchery. The father said “\u003cem>oh\u003c/em>” and pressed in beside Gwen to take the sticky baby as she passed it to him. Arcadia hung back, aghast and thrilling to the redness of the birth and the life kindling in her father’s hands. They wrapped the baby loosely in a candy-striped blanket, and as Aviva stroked Lydia’s hair and helped to raise her head, Garth and Arcadia made the necessary introductions of mother and baby and breast. That left Gwen, crouched at the other end of the silvery umbilicus, to observe the heavy flow of blood that seeped from Lydia’s vagina in a slow pulsation, like water from a saturated sponge.\u003c/p>\n\u003cp>It required all of Gwen’s training and innate gift for minimization of disaster not to pronounce the fatal syllables “\u003cem>Ho, shit.\u003c/em>” But Aviva caught something in her face or shoulders, and when Gwen looked up from the pulsing blood that had begun to pool in a red half-dollar on the shower curtain, her partner was already on her way around to have a look. Aviva hunched down behind Gwen, an umpire leaning in on a catcher’s shoulder to get a better look at the ball as it came down the pike. She smelled of lemon peel and armpit in a way that barely registered with Gwen by now except as a steadying presence. They settled in to wait for the placenta. The soft click-click of the baby’s nursing marked the passing of several minutes. Aviva reached down and gave a gentle tug on the umbilical cord. She frowned. She made a humming sound deep in her throat and then said, “Hmm.”\u003c/p>\n\u003cp>Her tone pierced the bubble of family happiness up by Lydia’s head. Garth looked up sharply. “Is it all right?”\u003c/p>\n\u003cp>“It’s fine.”\u003c/p>\n\u003cp>Gwen ripped back the Velcro straps of her hypodermic kit, unrolled it, and felt around with her left hand for the vial of Pitocin.\u003c/p>\n\u003cp>“Right now,” Aviva said, “the placenta is feeling a little shy, so we just all want to really encourage the uterus to do some contracting for us. Lydia, you just keep right on nursing her, that’s the very best thing you can do. How’s that coming?”\u003c/p>\n\u003cp>“She went right on!” Lydia cried. Everything was wonderful in the world where she had taken up residence. “Great latch. Sucking away.”\u003c/p>\n\u003cp>“Good,” Gwen said, practicing the business of syringe and vial in a mindful series of ritual taps, sinking the vial onto the shaft of the needle, reading the tale of liquid and graduation. “Keep it up. And just to make sure it all gets nice and tight and contracted in there, we’re going to give you a little Pitocin.”\u003c/p>\n\u003cp>“What’s the deal?” said Garth. He craned forward to see what was happening between his wife’s legs. There was not, say, an ocean of blood, but there was more than enough to shock an innocent new father awash in a postpartum hormonal bath of trust in the world’s goodness. “Oh, goddammit. Did you guys fuck something up?”\u003c/p>\n\u003cp>He swore stiffly but with a sincere fury that took Gwen by surprise. She had pegged him as the gently feckless type of Berkeley white guy, drawstring pants and Teva sandals worn over hiking socks, sworn to a life of uxorial supportiveness the way some monks were sworn to the work of silence. Gwen didn’t know that Garth and Lydia had quarreled repeatedly over the idea of home birth, that Garth had viewed Lydia’s insistence on having their baby at home as the latest in a string of reckless and unnecessarily showy acts of counterconventionality that included refusing, to date, three separate proposals of marriage from Garth. Garth believed in hospitals and vaccines and government sanctioned monogamy and had absorbed from his poor black and Latino clients powerful notions of the sovereignty of bad luck and death. He had suffered no ill fortune throughout the length of a tranquil, comfortable, and fulfilling life and so at any moment anticipated — even felt that he deserved — the swift equalizing backhand of universal misfortune.\u003c/p>\n\u003cp>“It’s okay, Dad,” Gwen said. “It’s going to be okay.” “Yeah?”\u003c/p>\n\u003cp>“Oh, yeah.” She laid it on, but only because she could do so in good conscience. This kind of hemorrhaging was not unusual; the Pitocin would kick in momentarily, the uterus would contract, the mysterious bundle of the placenta, that doomed and transient organ, would complete its brief sojourn, and that would be that.\u003c/p>\n\u003cp>“I mean, well,” Garth said. He appeared to consider and decide against speaking the words that had entered his mind, so as not to cause alarm, then said them any way: “It’s just that it looks kind of bad.”\u003c/p>\n\u003cp>Gwen’s eyes snapped onto the little girl, but Arcadia seemed to have decided not to know anything except the baby sucking at her mother’s left breast and the feel of her mother’s hand in hers.\u003c/p>\n\u003cp>“That’s mostly just lochia,” Gwen said. “Lining, mucus, all that good stuff. It’s normal.”\u003c/p>\n\u003cp>“Mostly,” Garth repeated, his tone both flat and accusatory.\u003c/p>\n\u003cp>“How about you run get us some towels, Dad,” Aviva suggested. “And lots of them.”\u003c/p>\n\u003cp>“Towels,” Garth repeated, clinging to the rope of his desire to be useful.\u003c/p>\n\u003cp>“Definitely,” Gwen said. “Go on, honey. Go on and get us like every damn towel you got. Also, yeah, some sanitary pads.”\u003c/p>\n\u003cp>Gwen had a more than adequate supply of pads in her bag, but she wanted to give him a concrete mystery to grow entangled in, hoping that might keep him busy for a few minutes. Whenever she asked Archy to bring her a Tampax, he always got this look on his face, somewhere between intimidation, as by an advanced concept of cosmic theory, and dread, as if mere contact with a tampon might cause him spontaneously to grow a vagina.\u003c/p>\n\u003cp>Garth went away muttering, “Towels and sanitary pads.”\u003c/p>\n\u003cp>Aviva called Aryeh Bernstein. “Sorry to bother you,” she said. She gave him the essentials, then listened to what their backup OB had to say about Lydia Frankenthaler’s placenta. “We did. Yep. Okay. All right, thanks, Aryeh. I hope I won’t have to.”\u003c/p>\n\u003cp>“What did he say?”\u003c/p>\n\u003cp>“He said more Pitocin and massage.” “On it,” Gwen said.\u003c/p>\n\u003cp>As Aviva prepped another push, Gwen laid her hands on Lydia’s belly and felt, blindly and surely, for the hard shuddering uterus. She sank her fingers into the crepey flesh of Lydia’s abdomen and kneaded with dispassion and no more tenderness than a baker. She disbelieved in the mystical power of visualization according to strictures of her 97 percent rule, but that did not prevent her from imagining with every flexion of her fingers that Lydia’s womb was clenching, sealing itself up, condensing like a lump of coal in Superman’s fist to a hard bright healthy diamond.\u003c/p>\n\u003cp>They heard cabinets slamming in a bathroom somewhere with a panicked air of comedy, and then a glass broke, and the girl jumped. It was not impossible that Gwen jumped, too. Aviva held steady, guiding the second needle into Lydia’s vein.\u003c/p>\n\u003cp>“Hey, there, Arcadia,” Gwen said. “How you doing?” “Good.”\u003c/p>\n\u003cp>“You got a nice strong grip on your mom’s hand, there?” The girl nodded, slow and watchful. Gwen winced at the false tone of cheeriness she could hear creeping into her voice. “Know what I’m doing? I’m massaging your mom’s uterus. Now, I know you know what a uterus is.”\u003c/p>\n\u003cp>“Yes.”\u003c/p>\n\u003cp>“Duh. Of course you do, smart as you are.”\u003c/p>\n\u003cp>“Oh, uh, Gwen, um,” Lydia said, and she sank back deeper against the plaid bolster, her head lolling like a flower on a broken stem. Her left arm with the baby curled in its crook subsided, and there was a loud smack as the small mouth popped loose. “Oh, man, you guys, I don’t know.”\u003c/p>\n\u003cp>“Any change?” Aviva said. “Some.”\u003c/p>\n\u003cp>Gwen tried not to look at her partner as Aviva went over to her flight bag, a gaudy pleather thing blazoned with the obscurely ironic legend sulaco, and broke out the bags, barbs, and tubing of an IV kit. Gwen crouched, up to her elbows in the dough of the woman’s life, knowing that everything was going to be all right, that it was a matter of hormones and massage and a husband judiciously sent to find Kotex and bath towels. She also knew that she suffered from or had been blessed with a kind of reverse clairvoyance, the natural counterpart to her partner’s predictive pessimism. Gwen was resistant to if not proof against clear signs of danger or failure. Not because she was an optimist (not at all) but because she took failure, any failure, whether her own or the universe’s, so personally. If a bridge gave way outside of Bangalore, India, and a bus full of children plunged to their deaths, Gwen felt an atom sized but detectable blip of culpability. She had been taught firmly that you could not take credit for success if you were unprepared to accept blame for failure, and one useful expedient she had evolved over the years for avoiding having to do the latter was to refuse — not consciously so much as through a reflexive stubbornness — to acknowledge even the possibility of failure. And that was what she would have to accept if she looked up from her wildly bread-making hands and saw Aviva, with that grim measuring gaze of hers, holding up the bag of intravenous saline to catch the sunshine, her mouth drawn into a thin defeated line.\u003c/p>\n\u003cp>“Don’t fall asleep, Mommy,” Arcadia said. “Here comes Daddy with the towels.”\u003c/p>\n\u003cp>***\u003c/p>\n\u003cp>Gwen hurried along the corridor, bleeding from a fresh cut on her left cheek, trussing her belly with one arm, trying to keep up with Aviva, who was trying to keep up with the single-masted gurney on which Lydia Frankenthaler was being sailed toward one of the emergency room ORs by a crew of two nurses and the EMT who had accidentally slammed the ambulance door on Gwen’s face. The EMT hit the doors ass-first and banged on through, and the nurse who was not steering the IV pole turned and faced down the midwives as the doors swung shut behind her. She was about Gwen’s age, midthirties, a skinny ash eyed blonde with her hair in a rubberband ponytail, wearing scrubs patterned with the logo of the Oakland A’s. “I’m really sorry,” she said. She looked very faintly sorry. “You’ll have to wait out here.”\u003c/p>\n\u003cp>This was a sentence being passed on them, a condemnation and a banishment, but at first Aviva seemed not to catch on, or rather, she pretended not to catch on. As the Alice Waters of Midwives, she had been contending successfully and in frustration with hospitals for a long time, and though, by nature, she was one of the most candid and forthright people Gwen had ever known, if you sent her into battle with another nurse, an intake clerk, or most of all an OB, she revealed her self to be skilled in every manner of wheedlings and wiles. It was a skill that was called upon to one degree or another almost every time they went up against hospitals and insurance companies, and Gwen relied upon and was grateful to Aviva for shouldering the politics of the job so ably. She envied the way it seemed to cost Aviva nothing to eat shit, kiss up, make nice. Catching babies was the only thing Aviva cared about, and she would surrender anything except her spotless record for catching them safe and sound. She had, Gwen felt, that luxury.\u003c/p>\n\u003cp>“No, no, of course, we’ll wait,” Aviva said in a chipper voice. She made a great show of gazing down at herself, at her white shirt with its chart of blood islands, at the chipped polish on her big toenail. With the same partly feigned air of disapproval, she surveyed Gwen’s cheek, her played-out saggy-kneed CP Shades. Then Aviva nodded, granting with a smile the whole vibe of dirt and disorder that the partners were giving off. “But after we clean up and scrub in, right? then it’s no problem, right” — leaning in to read the nurse’s badge — “Kirsten? If you want to check with Dr. Bernstein, I’m sure …”\u003c/p>\n\u003cp>Gwen could see the nurse trying to determine whose responsibility it was in this situation to be the Asshole, which was of course the purpose of Aviva’s gambit. Sometimes that awful responsibility turned out to be endlessly deferrable, and other times you got lucky and ended up in the hands of someone too tired or busy to give a damn.\u003c/p>\n\u003cp>“Bernstein’s stuck in traffic,” Kirsten said. “The attending’s Dr. Lazar. I’ll check with him. In the meantime, why don’t you two ladies go ahead and have a seat.” She told Gwen, “You’re going to want to have a seat.”\u003c/p>\n\u003cp>\u003cem>You have a seat, bitch. That’s my patient maybe bleeding to death in there.\u003c/em>\u003c/p>\n\u003cp>“No, thank you,” Gwen said. “I prefer to stand.”\u003c/p>\n\u003cp>Her relations toward authority, toward its wielders and tools, were — had to be — more complicated than her partner’s. She could not as blithely subordinate her pride and self-respect to the dictates of hospital politics, distill her practice of midwifery, the way Aviva did, to the fundamental business of the Catch. But Gwen knew, the way a violinist knew tonewood, how to work it. She had grown up in a family of doctors, lawyers, teachers, cops. For many years her father was an assistant district attorney for the city of Washington, D.C., and then a lawyer for the Justice Department. Both of her mother’s sisters were nurses. Her uncle Louis had been a D.C. patrolman and plainclothesman and was now the chief of security for Howard University, and her brother, Ernest, ran a lab at George Mason. To the extent that Gwen had been hassled in her life by representatives of the white establishment, she had been trained to get the better of the situation without compromising herself, some times by dropping a name, sometimes by showing a respect that she genuinely felt or could at least remember how to simulate. Mostly by letting the doc or the officer feel that she understood how it was to be on the job.\u003c/p>\n\u003cp>“But truly, thank you, Kirsten,” Gwen added, reaching for chipper like a note that was just beyond her range. “We really appreciate your taking the time. We know how busy you are.” She smiled. “And maybe I will sit down a minute, at that.”\u003c/p>\n\u003cp>As though doing Kirsten a favor, Gwen lowered herself into one of the plastic chairs bolted to a nearby wall.\u003c/p>\n\u003cp>“Definitely want to have somebody look at that cheek,” the nurse said, her brittle tone expressing solicitude for the cheek less, Gwen thought, than for her own worn-out, urban-population-serving self.\u003c/p>\n\u003cp>“Oh, thank you so much for your concern,” Gwen said. Struggling a little harder, knowing from the way Aviva was looking at her, that she was starting, in Aviva’s phrase, to \u003cem>leak\u003c/em>. “Now, please, honey, go ask the doc when we can see our patient.”\u003c/p>\n\u003cp>It must have been the “honey.”\u003c/p>\n\u003cp>Kirsten said, “She’s not your patient anymore.”\u003c/p>\n\u003cp>This was not technically true. As a result of years of hard work, steady and sound practice, slowly evolving cultural attitudes in the medical profession, and long, unrelenting effort begun by its founder and senior practitioner, by the summer of 2004, Berkeley Birth Partners enjoyed full privileges at Chimes General Hospital, with every right to assist in and attend to the care of Lydia Frankenthaler, who would remain a patient until such time as Lydia herself decided otherwise. But Aviva and Gwen had come this evening in an ambulance, giving off a whiff of trouble, with an unnecessary police escort they had managed to acquire along the way. Like a pair of shit-caked work boots, they were being left outside on the porch.\u003c/p>\n\u003cp>“We’ll wait here.” Aviva stepped in with the perfect mixture of unctuous sweetness and professional concern, spiking it lightly, like a furtive elbow to the ribs, with a warning to Gwen to seal all leaks or else shut the hell up. “As soon as you talk to the attending, you come find us, okay, Kirsten?”\u003c/p>\n\u003cp>Gwen followed Aviva into the bathroom, fighting the urge to apologize, wanting to point out that if you were white, eating shit was a choice you could make if you wanted; for a black woman, the only valid choice was not to.\u003c/p>\n\u003cp>In silence at separate sinks, they washed their hands and faces and rued the ruination of their shirts. The reverberation of water against porcelain intensified the silence. In the mirror, Gwen saw her partner staring at the bloodstains with an emotion between horror and hollowness, looking every one of her fortyseven years. Then their eyes met in the reflection, and the defeated look was gone in an instant, smuggled off, hooded and manacled, to the internal detention facility where Aviva Roth-Jaffe sent such feelings to die.\u003c/p>\n\u003cp>“I know,” Gwen said. “I was leaking.”\u003c/p>\n\u003cp>“Literally,” Aviva said, coming in to get a look at the damage the ambulance door had done to Gwen’s cheek. It had stopped bleeding, but when Aviva touched it, a fresh droplet formed a bead on the cut’s lower lip. The cut was about the size of a grain of pomegranate, pink and ugly. It would leave a scar, and Gwen was prone to keloids, and so forever after, she thought, she would have something special to remind her of this wonderful day. In her mind, she replayed her stumble, the optic flash as her face struck the steel corner.\u003c/p>\n\u003cp>“You need a stitch,” Aviva said. She leaned in to look at Gwen’s cut. “Maybe two.”\u003c/p>\n\u003cp>They went out to the ER and, after a few minutes of further genial self-abasement by Aviva, found themselves shown into an examination room with needle, suturing thread, and a hemostat. When it came time for novocaine, Gwen sat on her hands and told Aviva to go ahead and sew it up. “One stitch I can handle straight,” she said.\u003c/p>\n\u003cp>“Better call it two.”\u003c/p>\n\u003cp>“Two, then.”\u003c/p>\n\u003cp>“Aren’t you fucking macho.”\u003c/p>\n\u003cp>“I’m liable to start crying anyways, might as well give me a reason.” Gwen gasped as the needle bit. “Ow, Aviva, ouch.”\u003c/p>\n\u003cp>Aviva tugged the thread with a severe gentleness, breath whistling in her nostrils. Gwen focused her attention on the pendant that hung from a leather thong around Aviva’s throat. It had been made by Julie Jaffe in a flame-work class at the Crucible, lovely and enigmatic, a small glass planet, a teardrop of blue alien seas and green continents and polar caps tinted ice blue. For as long as Gwen had known him, Julie had been a mapper of worlds, on newsprint and graph paper and in the phosphor of a computer screen. Gwen recalled having asked him where he found the inspiration for the tiny glass world he had presented her as a Christmas present last year, and she tried to take comfort or at least find shelter from the pain of the suture needle in the memory of his reply: \u003cem>By living there\u003c/em>. Then Aviva sank the barb a second time, and that was when Gwen started to cry, no big show or anything, they were both a couple of cool customers, your Berkeley Birth Partners. No sobbing. No whoops of grief. Just tears welling up and spilling over, stinging in the fresh seam of the wound. To be honest, it felt pretty good.\u003c/p>\n\u003cp>She permitted the tears to flow only as long as it took Aviva to snip the thread from the second stitch, lay down the hemostat, peel off her gloves, and hand Gwen a tissue. Gwen dabbed her eyes and then used the tissue to blow her nose, a nice big honking blast.\u003c/p>\n\u003cp>“They aren’t going to let us in,” Gwen said bitterly. “I guess not.”\u003c/p>\n\u003cp>“Where’s Bernstein?”\u003c/p>\n\u003cp>“He was in the city. He’s coming.”\u003c/p>\n\u003cp>“We need to be \u003cem>in \u003c/em>there. They’re going to want to do a hysterectomy, I know it. When all they need to do is just \u003cem>wait \u003c/em>a little. Lazar. Who’s Lazar?”\u003c/p>\n\u003cp>“Don’t know him.”\u003c/p>\n\u003cp>“Tell me she’s going to be all right.” “She will be all right.”\u003c/p>\n\u003cp>“I should have noticed it sooner.”\u003c/p>\n\u003cp>“There was nothing to notice until you noticed it. You noticed it right away.”\u003c/p>\n\u003cp>Gwen nodded, ducking her head, balling the tissue in her fist. She stood up and paced the room, stopped, hugged herself, notching her arms into the groove over the swell of her abdomen. She sat down, stood up, blew her nose again, and paced the room some more. She knew perfectly well there was nothing anyone could have done, but somehow that only made it feel more imperative to blame herself. It implied no kind of self-exoneration if she felt compelled to blame some other people, too. “I can’t believe they aren’t letting us in there!”\u003c/p>\n\u003cp>“Take it easy,” Aviva said in a hushed voice that was meant, Gwen knew, to communicate the fact that she was talking too loudly. But Gwen could tell that she was rattling Aviva, and for some reason, it pleased her to see it. For the second time that day, she had a sense of trespassing on some internal quarantine, crossing a forbidden zone into the \u003cem>ponfarr\u003c/em>; amok time. It would not be right for Aviva to make her go there alone.\u003c/p>\n\u003cp>“I’ve had enough of this,” Gwen said. “Aviva, no, seriously. Listen to me.”\u003c/p>\n\u003cp>“I can hear you loud and clear, Gwen.”\u003c/p>\n\u003cp>“Come on. You have worked too hard. We have both earned the right to be treated better than this.”\u003c/p>\n\u003cp>There was the squeak of a sneaker on tiled floor. The partners turned, startled, to the door of the examining room, where a young pink-faced doctor appeared, his head shaved almost to the scalp, leaving only a ghostly chevron of pattern baldness. Dead-eyed, already tired of listening to them before they ever opened their mouths.\u003c/p>\n\u003cp>“I’m Dr. Lazar,” he said. “I was able to do a manual removal of the placenta. Mrs. Frankenthaler is stable, uterine tonicity looks good. We stopped the bleeding. She’ll be fine.”\u003c/p>\n\u003cp>The partners stood, perfectly still, tasting the news like thirsty people trying to decide if they had just felt a drop of rain. Then they fell on each other and hung on tight, Gwen half stupid with relief, drunk on it, clinging to Aviva as if to keep the room from spinning.\u003c/p>\n\u003cp>Dr. Lazar studied the celebration with his flounder eyes and a mean smile like a card cheat with a winning hand. “Do you think,” he said after an interval not quite long enough to pass for decent, “uh, I don’t know, do either of you ladies think maybe you could explain to me how you managed to screw up this birth quite so badly?”\u003c/p>\n\u003cp>“Excuse me?” Gwen said, letting go of Aviva as the dizziness abruptly passed.\u003c/p>\n\u003cp>“Ten more minutes of sage-burning or whatever voodoo you were working, and that mom — “\u003c/p>\n\u003cp>\u003cem>“Voodoo?”\u003c/em>Gwen said.\u003c/p>\n\u003cp>Instead of wincing at this clear instance of having said something he was bound to regret, Dr. Lazar turned gelid, immobile. But he flushed to the tips of his ears. “You know what?” he said. “Whatever.”\u003c/p>\n\u003cp>He turned and walked out of the room, and Gwen noticed a purple Skittle adhering to the seat of his surgical scrub trousers. For some reason, the sight of the smashed piece of candy stuck on the doctor’s ass inspired a minute compassion for the fish-eyed and weary young man with his burden of alopecia, and this, in turn, sent her over the edge.\u003c/p>\n\u003cp>“Gwen!” Aviva said, but it was too late, and anyway, the hell with her.\u003c/p>\n\u003cp>***\u003c/p>\n\u003cp>An hour ago, when they had blown in on a gust of urgency from the ambulance bay, EMT yelling instructions, calling for a stretcher, Garth looking modestly wild-eyed, dancing like a man who had to pee, holding the baby who needed to be fed, Aviva breaking out a bottle of Enfamil from her backpack and cracking it with a sigh and that formula smell of vitamins and cheese, the wonderful avid baby needing every ounce of it — Gwen had failed to remark just how busy it was tonight at the emergency room of Chimes General Hospital.\u003c/p>\n\u003cp>Every room seemed to be occupied. Her pursuit of Dr. Lazar was haunted at its edges by glimpses of a pale hairy shin slashed with red. A forlorn teenager in a volleyball uniform clutching her arm at a surrealist angle.A young man with baby dreadlocks gripping either side of a sink as if about to vomit. The whole scene scored with a discordant soundtrack of televisions and woe, the nattering of SpongeBob, an old man’s ursine expectorations, a pretty Asian woman cursing like a sailor as something nasty was extracted from the meat of her hand, the horrific shrieking of a toddler being held down by its father while a phlebotomist probed its arm for a vein. Outside the last examination room before the waiting area, a young Hispanic man lolled in a chair, holding a bloody ice pack to his face, while from inside the room, a doctor yelled cheerfully in English at his bleeding companion as if the man were deaf and retarded.\u003c/p>\n\u003cp>“I am a nurse,” Gwen said, managing to sound calmer than she felt, catching up with Lazar. “Please tell me that I did not just hear you employ the term ‘voodoo’ in reference to my licensed and certified practice of midwifery.”\u003c/p>\n\u003cp>Lazar stopped at the threshold of the waiting area, where he planned, she assumed, to tell Garth and Arcadia that Lydia would be okay, business that was definitely more important, as Gwen knew perfectly well in some cool, quiet corner of her being, than whatever point she was attempting to make. The doctor turned to confront her with an air of resigned willingness to go along, an obedient soldier saddling up for the ride into the valley of death.\u003c/p>\n\u003cp>“I know you were burning something,” he said. “I could smell it on her.”\u003c/p>\n\u003cp>“It was ylang-ylang,” Aviva said, hurrying up behind them, taking a step toward Gwen as if to interpose her body between Gwen and the doctor. “Her husband was burning it during the first part of her labor. She likes the smell.”\u003c/p>\n\u003cp>“That woman,” Gwen said, “Lydia. The placenta was retained. There was stage zero hemorrhage, borderline stage one. Uterine atonicity. And she went into a hypovolemic shock.”\u003c/p>\n\u003cp>“Correct,” the doctor said, impatient.\u003c/p>\n\u003cp>“Even though we had her on a course of supplements and immediately began to administer oxytocin and do uterine massage. Exactly like you or any doctor would have done. Is that not correct?”\u003c/p>\n\u003cp>He blinked, not wanting to give up anything to her.\u003c/p>\n\u003cp>“So tell me this, Doctor, how many accretas, how many postpartum hemorrhages, have you guys had here this month? Like, what, I’m going to say six?”\u003c/p>\n\u003cp>“I wouldn’t know.”\u003c/p>\n\u003cp>“Ten?”\u003c/p>\n\u003cp>“I don’t know the answer to that, Ms. Shanks, but see, the thing is, when those things happen here, okay? When they happen here? When there’s some hemorrhaging? Which does occur, of course. Then the patient’s \u003cem>already in the damn hospital\u003c/em>. Where she ought to be.”\u003c/p>\n\u003cp>Gwen looked over at the young man with the ice pack, his visible eye dull and maddened, his knuckles swollen like berries on the point of rot.\u003c/p>\n\u003cp>“You know what?” Aviva said, and out came the pointing finger so feared by all who loved her, Gwen among them, as the Berkeley faded and the Brooklyn broke through, and all at once Aviva’s proximity no longer buffered but menaced the doctor. “In fifteen years, my practice has never lost a single mother. And not one single baby. Can this place make that claim? No, I happen to know very well it can’t, and so do you.”\u003c/p>\n\u003cp>“Who would ever want to have a baby \u003cem>here\u003c/em>?” Gwen observed, half to herself, a hand settling on her belly like an amulet or shield.\u003c/p>\n\u003cp>“It’s a \u003cem>birth\u003c/em>,” the doctor said. “You know, call me crazy, but maybe in the end that’s one of those things you just don’t want to try at home. It’s not like conking your hair.”\u003c/p>\n\u003cp>Somebody gasped out in the waiting room. An arch, eager female voice went \u003cem>Awwwwww shit\u003c/em>.\u003c/p>\n\u003cp>“You racist,” Gwen began, “misogynist — “\u003c/p>\n\u003cp>“Oh, come on, don’t start that crap.”\u003c/p>\n\u003cp>Lazar turned his back on her and went into the waiting room. Throwing up his hands, shaking his head: all the bad acting people tended to engage in when they were most sincere. Gwen stayed right with him. Everyone in the waiting room raised their head, face blank and attentive, prepared if not hoping for further entertainment.\u003c/p>\n\u003cp>“Don’t you bait me,” Gwen said, feeling an internal string, years in the winding, snap with a delicious and terrible twang. “Don’t you ever try to bait me, you bald-headed, Peewee Herman–looking, C-sectioning, PPO hatchet man.”\u003c/p>\n\u003cp>\u003cem>Ho! Uh-\u003c/em>uh\u003cem>! Go, Mommy!\u003c/em>\u003c/p>\n\u003cp>Gwen was right up against him, her body, her belly, the pert cupola of her protruding navel flirting through the fabric of her blouse with actual physical contact. He backed off, betraying the faintest hint of fear.\u003c/p>\n\u003cp>Garth stood up, holding the baby stiffly, forlornly, as if it were a rare musical instrument, some kind of obscure assemblage of reeds and bladders that he would now be called upon to play. His blue eyes looked frightened, bewildered, and when she saw him, Gwen felt ashamed.\u003c/p>\n\u003cp>Arcadia, curled in on herself in a plastic armchair, woke up and started to cry.\u003c/p>\n\u003cp>“Mr. Frankenthaler?” the doctor said.\u003c/p>\n\u003cp>“Garth, she’s fine,” Aviva said. She hurried over to Garth, rubbed his shoulder. “She’s fine, she’s going to be fine.”\u003c/p>\n\u003cp>“Why don’t you come with me, Mr. Frankenthaler? I’ll take you to see your wife,” Lazar said.\u003c/p>\n\u003cp>“She isn’t my wife,” Garth said, dazed. “My last name is Newgrange.” Lazar crouched down in front of Arcadia and spoke, in a tender voice, words that only she could hear. She nodded and sniffled, and he moved a thick coil of her dark hair, damp at the end with tears, out of her eyes, painting a shining trail across her cheek. Suddenly, the man was the kindest doctor in the universe. He stood up, and Arcadia took hold of the hem of her father’s windbreaker, and they followed Lazar back into the ER. Two seconds later, Lazar reappeared and pointed his finger at Gwen in a parody, perhaps unconscious, of Aviva’s recent performance. “I’m writing this up,” he told Gwen, who stood there, shoulders heaving, all the righteousness emptied out of her, the last bright tankful burned off in that final heavenward blast. “Count on that.”\u003c/p>\n\u003cp>“Did you hear the way he spoke to me?” she said to Aviva, to the room, a note of uncertainty in the question as if seeking confirmation that she had not in fact imagined it. ” ‘Voodoo.’ ‘It’s not like having your hair conked.’ Did you hear? I know everybody in this room heard the man.” Aviva was back to the hushed voice, gently taking hold of Gwen’s elbow.\u003c/p>\n\u003cp>“I heard,” she said, “I know.”\u003c/p>\n\u003cp>“You \u003cem>know\u003c/em>? I don’t think you do.”\u003c/p>\n\u003cp>“Oh, come on,” Aviva said with an unfortunate echo of Lazar in her tone. “For God’s sake, Gwen. I’m on your side.”\u003c/p>\n\u003cp>“No, Aviva, \u003cem>I’m \u003c/em>on my side. I didn’t hear him say one damn word to \u003cem>you\u003c/em>.”\u003c/p>\n\u003cp>Gwen pulled her arm free of Aviva’s grasp and trudged out of the waiting room, through the covered entranceway to the ER, and out to the drive way, where Hekate the Volvo still sat, her hazard lights faithfully blinking. The late-summer-afternoon breeze carried a smell of the ocean. Gwen shivered, a spasm that started in her arms and shoulders but soon convulsed everything. She had barely eaten all day, which was horrible, reprehensible, two months from delivery and already a Bad Mother. Now she felt like she was starving and at the same time like she might throw up. The stitches burned in her cheek. There was a reek of butts and ashes, out here beyond the doors, and a live thread of fresh smoke. She turned to see a pair of women whom she recognized from the waiting room, young and wide-eyed with matching taffy curls, cousins or possibly sisters, one of them even more hugely pregnant than Gwen, sharing a Kool with an air of exuberant impatience as if, when they finished it, something good was going to happen to one or both of them.\u003c/p>\n\u003cp>“Hello,” Gwen said, and they laughed as if she had said something stupid or as if she herself were stupid regardless of what she might say. They were among those who had cheered and taken great pleasure in Gwen’s public argument with Dr. Lazar. The pregnant one smoked, in haling in that strange impatient way, and studied Gwen as if the sight of her confirmed some long-held theory.\u003c/p>\n\u003cp>“You a midwife?” the pregnant woman said.\u003c/p>\n\u003cp>Gwen nodded, trying to look proud and competent, a credit to her profession and her people. The pregnant woman dropped the burning cigarette and stepped on it, and then she and her companion turned to walk back to the emergency room, the pregnant woman’s flip-flops scraping and slapping against the soles of her feet.\u003c/p>\n\u003cp>“See, now,” she told her companion, “don’t want to be messing with that country shit.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>From the forthcoming novel \u003c/em>Telegraph Avenue\u003cem>. Copyright 2012 by Michael Chabon. Reprinted by permission of the author. Audio courtesy Harper Audio. All rights reserved.\u003c/em>\u003cem>\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=Exclusive+First+Read%3A+%27Telegraph+Avenue%27&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 8092,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 160
},
"modified": 1705050525,
"excerpt": "Michael Chabon's sprawling new novel features a multigenerational, multiracial cast of characters, from gay teens to former blaxploitation stars, revolving around efforts by two men to save their used-record store.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Michael Chabon's sprawling new novel features a multigenerational, multiracial cast of characters, from gay teens to former blaxploitation stars, revolving around efforts by two men to save their used-record store.",
"title": "Exclusive First Read: 'Telegraph Avenue' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Exclusive First Read: 'Telegraph Avenue'",
"datePublished": "2012-08-23T20:30:25-07:00",
"dateModified": "2024-01-12T01:08:45-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "exclusive_first_read_telegraph_avenue",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/literature/literature-nprbooks/",
"sticky": false,
"path": "/arts/106451/exclusive_first_read_telegraph_avenue",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Michael Chabon sets his sprawling new novel, \u003c/em>Telegraph Avenue,\u003cem> in his adopted home of Berkeley, Calif., and its grittier southern neighbor, Oakland. With its multiracial, multigenerational cast of jazz musicians, former blaxploitation stars, midwives, gay teens and Black Panthers-turned-politicians, the book both celebrates and gently sends up the countercultural norms and complex racial politics of East Bay life. The plot nominally revolves around Archy Stallings’ and Nat Jaffe’s efforts to save their used-record store (located on the eponymous Telegraph Avenue), which is threatened when a black football legend and entrepreneur makes plans to locate a media megastore in the neighborhood. This exclusive excerpt finds Nat’s wife, Aviva — “the Alice Waters of midwives” — presiding over a home birth with her business partner, Archy’s wife, Gwen. The episode is part of a very long day for Gwen, who has just caught Archy with another woman. Telegraph Avenue will be published Sept. 11.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003ch6>PARENTS’ ADVISORY: This excerpt contains adult content and language that some readers may find offensive.\u003cem> \u003c/em>\u003c/h6>\n\n\u003chr>\n\u003cp>“Hello?” Gwen called, letting herself in the front door. A small black Buddha greeted her from a low table by the front door, where it kept company with a photograph of Lydia Frankenthaler, the producer of an Oscar-winning documentary film about the neglected plight of lesbians in Nazi Germany; Lydia’s partner, Garth; and Lydia’s daughter from her first marriage, a child whose father was black and whose name Gwen had forgotten. It was a Chinese Buddha, the kind that was supposed to pull in money and luck, jolly, babyfaced, and potbellied, reminding Gwen of her darling husband apart from the signal difference that you could rub the continental expanse of Archy Stallings’s abdomen for a very long time without attracting any flow of money in your direction. “Somebody having a baby around here?”\u003c/p>\n\u003cp>“In here, Gwen,” Aviva said.\u003c/p>\n\u003cp>Lydia and Garth, a lawyer for the poor, were having their baby in their living room. It was a large room with a vaulted ceiling and nothing between it and the canyon but a wall of solid glass. The girl — Arabia, Alabama, she had a geographical name — sat marveling blankly at the spectacle of her naked mother reposed like an abstract chunk of marble sculpture in the center of the room. Against her legs the girl held a rectangle of cardstock to which she had pasted the three pages of her mother’s birth plan, decorating the borders in four colors of marker with flowers and vines and a happy-looking fetus labeled BELLA. Two low sofas had been pushed to the sides of the room to make space for a wide flat sandwich crafted from a tatami mat, a slab of egg-carton foam rubber, and a shower curtain decorated with a giant self-portrait of Frida Kahlo. Garth, a small-boned, thin-shanked man with a red beard and red stubble on his head, lay sleeping on the improvised bed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m at nine!” said Lydia by way of greeting, adding whatever comment was provided by her spread, furryish butt cheeks and the backs of her legs as she bent over in the downward-facing-dog position to grab two handfuls of floor. “A hundred percent effaced.”\u003c/p>\n\u003cp>“I’ve been trying to persuade her to try a little push,” said Aviva. She tilted back on her haunches, down on the floor beside Lydia, studying the looming pale elderly secundigravida. Disapproving of the woman, but only Gwen would have caught it, the lips pursed to the left as if with holding a kiss. Barefoot in a loose cotton shift over black ripstop pedal pushers, the roiling surf of her black hair, with its silver eddies, pulled back and tied in a sloppy bun. Stubble showing blue against her luminous shins. Toenails painted a deep cocoa red like the skin of Archy’s Queen of Sheba. “But all Mom wants to do is goof around like that.”\u003c/p>\n\u003cp>“I don’t want to push,” Lydia said. A string of pain drew and cinched her voice, a yogic voice, inverted and tied carefully to the rhythm of her breathing. “Is it okay, Gwen? Can’t I just stay this way for a little while longer? It feels a lot better.”\u003c/p>\n\u003cp>If Aviva said it was time to try a little push, then it was, in Gwen’s view, time to try a little push. You did not get to be the Alice Waters of Midwives by leaving your gratins in the oven too long.\u003c/p>\n\u003cp>“Well, you’ve got gravity working for you,” Gwen tried, less inclined than her partner to patience or politeness but good for at least one go-round with an upside-down naked lady in labor. “But if anybody ever pushed out a baby in that jackknife thing you’ve got working right there, Lydia, then I never heard about it.”\u003c/p>\n\u003cp>“It could be interesting,” Aviva said. “Now that you mention it. Maybe you should give it a try.” The words were humorous, but her tone continued to be critical, at least to Gwen’s ear.\u003c/p>\n\u003cp>“Let me just wash my hands and whatnot, and then I’ll fire up my Doppler and see what’s happening in there,” Gwen said, dropping her bag on a black leather armchair. “Hi, honey.” \u003cem>Arcadia\u003c/em>. “What do you think of all this, Miss Arcadia?”\u003c/p>\n\u003cp>The girl shrugged, eyes wide and teary but not despairing. Without cant or reference to the threefold moon goddess or other such nonsense, it was a deep and solemn business that they were about in this room, and nobody was going to feel that, in all its fathomlessness, like a kid. Certainly not old Garth over there, sacked out with one toe poking out of his left sock and sleep working the bellows of his skinny frame.\u003c/p>\n\u003cp>“Kind of gross,” the girl said, hoisting the birth plan higher as if to shield herself from the grossness of it. Article Seven requested that the umbilical cord not be cut until the placenta had ceased to pump. Article Twelve was some kind of nonsense about the use of artificial light. Gwen was not one to disrespect a well-made birth plan, but there were always wishful thinking and juju involved, and when things went the way they were going to go, as they must, many plans took on a retrospective air of foolishness. “No offense, Mom.”\u003c/p>\n\u003cp>“You don’t.” The string cinching tighter. “Have to. Watch it, baby. I told you — “\u003c/p>\n\u003cp>“I want to stay.”\u003c/p>\n\u003cp>“Gross can be interesting,” Gwen said. “Huh?” Arcadia nodded.\u003c/p>\n\u003cp>Lydia lowered her hips and sank to her knees, giving way like a sand castle, and on all fours she rested, head hung, eyes closed, as if about to pantomime some animal behavior. “I’m going to push now,” she announced. In the same stewardessy voice, she added, “Everyone please shut up.”\u003c/p>\n\u003cp>Her tone was wrong and startling, like a struck wineglass with a secret flaw, and at once Garth sat up and gaped at Gwen, blinking, wiping his lips with his sleeve. “What’s wrong?” he said. His eyes came unstuck from Gwen’s, and he looked around, kicking up from the deep-sea trench of a dream, looking for his new baby, finding his wife, who was seeing nothing at all.\u003c/p>\n\u003cp>“Everything’s fine, sweetie,” Aviva said. “Only we’re going to need Frida Kahlo.”\u003c/p>\n\u003cp>Gwen went into the kitchen to drink a glass of water and, in the name of asepsis if not pride, eradicate every last whiff of Elsabet Getachew from her hands. \u003cem>No excuse for you — \u003c/em>that was sterling dialogue. She strangled the renascent memory of her shame with a pair of latex-free gloves. When she came back into the living room, she saw that Frida Kahlo had been veiled with an orange bath towel. Lydia lay on her back, propped up on an old plaid bolster, pale abdomen shot like an eyeball with capillaries, making a new kind of low growling sound that built slowly to an energetic whoop and flowered in a burst of foul language that made everybody laugh.\u003c/p>\n\u003cp>“Good one,” Aviva said. “Good one.”\u003c/p>\n\u003cp>Though Aviva had caught a thousand babies with hands that were steady and adept, now that it was time, she deferred to her partner, to the virtuoso hands of Gwen Shanks, freaky-big, fluid as a couple of tide-pool dwellers, cabled like the Golden Gate Bridge.\u003c/p>\n\u003cp>As Aviva gave way to Gwen, she tried by means of her powerfully signifying eyebrows to communicate that she felt something in this situation to be amiss, something not provided for in the birth plan, which lay sagging and looped onto itself under the little girl’s chair. Aviva’s apparent psychic ability to know in advance when something might go wrong, especially in the context of a birth, was not merely the statistical fruit of an abiding pessimism. Skeptic that she was, Gwen had seen Aviva make unlikely but correct predictions of disaster too many times to discount. Gwen frowned, trying to see or feel what Aviva had detected, coming up short. By the time she turned to Lydia, every trace of the frown had been blown away.\u003c/p>\n\u003cp>“Okay,” she said, “let’s see what little old Miss Bella is up to.”\u003c/p>\n\u003cp>Gwen lowered herself by inches and prayers to the floor and, when she arrived, saw that the inner labia of Lydia Frankenthaler had conformed themselves into a fiery circle. A smear of fluid and hair presented its credentials at this checkpoint, advance man for the imminently arriving ambassadress from afar.\u003c/p>\n\u003cp>“You’re working fast now,” Gwen said. “You’re crowning. Here we go. Oh my goodness.”\u003c/p>\n\u003cp>“Lydia, honey, remember how you said you really didn’t want to push,” Aviva said, climbing in alongside Gwen, “well, now I would actually like you to stop. Stop pushing. Just let her — “\u003c/p>\n\u003cp>“Coming fast,” Gwen said. “Look out.”\u003c/p>\n\u003cp>There was a ripple of liquid and skin, then with a vaginal sigh, the little girl squirted face-up into Gwen’s wide hands. The small eyes were open, nebular, and dull, but in the instant before she cried out, they ignited, and the child seemed to regard Gwen Shanks. The air was filled with a hot smell between sex and butchery. The father said “\u003cem>oh\u003c/em>” and pressed in beside Gwen to take the sticky baby as she passed it to him. Arcadia hung back, aghast and thrilling to the redness of the birth and the life kindling in her father’s hands. They wrapped the baby loosely in a candy-striped blanket, and as Aviva stroked Lydia’s hair and helped to raise her head, Garth and Arcadia made the necessary introductions of mother and baby and breast. That left Gwen, crouched at the other end of the silvery umbilicus, to observe the heavy flow of blood that seeped from Lydia’s vagina in a slow pulsation, like water from a saturated sponge.\u003c/p>\n\u003cp>It required all of Gwen’s training and innate gift for minimization of disaster not to pronounce the fatal syllables “\u003cem>Ho, shit.\u003c/em>” But Aviva caught something in her face or shoulders, and when Gwen looked up from the pulsing blood that had begun to pool in a red half-dollar on the shower curtain, her partner was already on her way around to have a look. Aviva hunched down behind Gwen, an umpire leaning in on a catcher’s shoulder to get a better look at the ball as it came down the pike. She smelled of lemon peel and armpit in a way that barely registered with Gwen by now except as a steadying presence. They settled in to wait for the placenta. The soft click-click of the baby’s nursing marked the passing of several minutes. Aviva reached down and gave a gentle tug on the umbilical cord. She frowned. She made a humming sound deep in her throat and then said, “Hmm.”\u003c/p>\n\u003cp>Her tone pierced the bubble of family happiness up by Lydia’s head. Garth looked up sharply. “Is it all right?”\u003c/p>\n\u003cp>“It’s fine.”\u003c/p>\n\u003cp>Gwen ripped back the Velcro straps of her hypodermic kit, unrolled it, and felt around with her left hand for the vial of Pitocin.\u003c/p>\n\u003cp>“Right now,” Aviva said, “the placenta is feeling a little shy, so we just all want to really encourage the uterus to do some contracting for us. Lydia, you just keep right on nursing her, that’s the very best thing you can do. How’s that coming?”\u003c/p>\n\u003cp>“She went right on!” Lydia cried. Everything was wonderful in the world where she had taken up residence. “Great latch. Sucking away.”\u003c/p>\n\u003cp>“Good,” Gwen said, practicing the business of syringe and vial in a mindful series of ritual taps, sinking the vial onto the shaft of the needle, reading the tale of liquid and graduation. “Keep it up. And just to make sure it all gets nice and tight and contracted in there, we’re going to give you a little Pitocin.”\u003c/p>\n\u003cp>“What’s the deal?” said Garth. He craned forward to see what was happening between his wife’s legs. There was not, say, an ocean of blood, but there was more than enough to shock an innocent new father awash in a postpartum hormonal bath of trust in the world’s goodness. “Oh, goddammit. Did you guys fuck something up?”\u003c/p>\n\u003cp>He swore stiffly but with a sincere fury that took Gwen by surprise. She had pegged him as the gently feckless type of Berkeley white guy, drawstring pants and Teva sandals worn over hiking socks, sworn to a life of uxorial supportiveness the way some monks were sworn to the work of silence. Gwen didn’t know that Garth and Lydia had quarreled repeatedly over the idea of home birth, that Garth had viewed Lydia’s insistence on having their baby at home as the latest in a string of reckless and unnecessarily showy acts of counterconventionality that included refusing, to date, three separate proposals of marriage from Garth. Garth believed in hospitals and vaccines and government sanctioned monogamy and had absorbed from his poor black and Latino clients powerful notions of the sovereignty of bad luck and death. He had suffered no ill fortune throughout the length of a tranquil, comfortable, and fulfilling life and so at any moment anticipated — even felt that he deserved — the swift equalizing backhand of universal misfortune.\u003c/p>\n\u003cp>“It’s okay, Dad,” Gwen said. “It’s going to be okay.” “Yeah?”\u003c/p>\n\u003cp>“Oh, yeah.” She laid it on, but only because she could do so in good conscience. This kind of hemorrhaging was not unusual; the Pitocin would kick in momentarily, the uterus would contract, the mysterious bundle of the placenta, that doomed and transient organ, would complete its brief sojourn, and that would be that.\u003c/p>\n\u003cp>“I mean, well,” Garth said. He appeared to consider and decide against speaking the words that had entered his mind, so as not to cause alarm, then said them any way: “It’s just that it looks kind of bad.”\u003c/p>\n\u003cp>Gwen’s eyes snapped onto the little girl, but Arcadia seemed to have decided not to know anything except the baby sucking at her mother’s left breast and the feel of her mother’s hand in hers.\u003c/p>\n\u003cp>“That’s mostly just lochia,” Gwen said. “Lining, mucus, all that good stuff. It’s normal.”\u003c/p>\n\u003cp>“Mostly,” Garth repeated, his tone both flat and accusatory.\u003c/p>\n\u003cp>“How about you run get us some towels, Dad,” Aviva suggested. “And lots of them.”\u003c/p>\n\u003cp>“Towels,” Garth repeated, clinging to the rope of his desire to be useful.\u003c/p>\n\u003cp>“Definitely,” Gwen said. “Go on, honey. Go on and get us like every damn towel you got. Also, yeah, some sanitary pads.”\u003c/p>\n\u003cp>Gwen had a more than adequate supply of pads in her bag, but she wanted to give him a concrete mystery to grow entangled in, hoping that might keep him busy for a few minutes. Whenever she asked Archy to bring her a Tampax, he always got this look on his face, somewhere between intimidation, as by an advanced concept of cosmic theory, and dread, as if mere contact with a tampon might cause him spontaneously to grow a vagina.\u003c/p>\n\u003cp>Garth went away muttering, “Towels and sanitary pads.”\u003c/p>\n\u003cp>Aviva called Aryeh Bernstein. “Sorry to bother you,” she said. She gave him the essentials, then listened to what their backup OB had to say about Lydia Frankenthaler’s placenta. “We did. Yep. Okay. All right, thanks, Aryeh. I hope I won’t have to.”\u003c/p>\n\u003cp>“What did he say?”\u003c/p>\n\u003cp>“He said more Pitocin and massage.” “On it,” Gwen said.\u003c/p>\n\u003cp>As Aviva prepped another push, Gwen laid her hands on Lydia’s belly and felt, blindly and surely, for the hard shuddering uterus. She sank her fingers into the crepey flesh of Lydia’s abdomen and kneaded with dispassion and no more tenderness than a baker. She disbelieved in the mystical power of visualization according to strictures of her 97 percent rule, but that did not prevent her from imagining with every flexion of her fingers that Lydia’s womb was clenching, sealing itself up, condensing like a lump of coal in Superman’s fist to a hard bright healthy diamond.\u003c/p>\n\u003cp>They heard cabinets slamming in a bathroom somewhere with a panicked air of comedy, and then a glass broke, and the girl jumped. It was not impossible that Gwen jumped, too. Aviva held steady, guiding the second needle into Lydia’s vein.\u003c/p>\n\u003cp>“Hey, there, Arcadia,” Gwen said. “How you doing?” “Good.”\u003c/p>\n\u003cp>“You got a nice strong grip on your mom’s hand, there?” The girl nodded, slow and watchful. Gwen winced at the false tone of cheeriness she could hear creeping into her voice. “Know what I’m doing? I’m massaging your mom’s uterus. Now, I know you know what a uterus is.”\u003c/p>\n\u003cp>“Yes.”\u003c/p>\n\u003cp>“Duh. Of course you do, smart as you are.”\u003c/p>\n\u003cp>“Oh, uh, Gwen, um,” Lydia said, and she sank back deeper against the plaid bolster, her head lolling like a flower on a broken stem. Her left arm with the baby curled in its crook subsided, and there was a loud smack as the small mouth popped loose. “Oh, man, you guys, I don’t know.”\u003c/p>\n\u003cp>“Any change?” Aviva said. “Some.”\u003c/p>\n\u003cp>Gwen tried not to look at her partner as Aviva went over to her flight bag, a gaudy pleather thing blazoned with the obscurely ironic legend sulaco, and broke out the bags, barbs, and tubing of an IV kit. Gwen crouched, up to her elbows in the dough of the woman’s life, knowing that everything was going to be all right, that it was a matter of hormones and massage and a husband judiciously sent to find Kotex and bath towels. She also knew that she suffered from or had been blessed with a kind of reverse clairvoyance, the natural counterpart to her partner’s predictive pessimism. Gwen was resistant to if not proof against clear signs of danger or failure. Not because she was an optimist (not at all) but because she took failure, any failure, whether her own or the universe’s, so personally. If a bridge gave way outside of Bangalore, India, and a bus full of children plunged to their deaths, Gwen felt an atom sized but detectable blip of culpability. She had been taught firmly that you could not take credit for success if you were unprepared to accept blame for failure, and one useful expedient she had evolved over the years for avoiding having to do the latter was to refuse — not consciously so much as through a reflexive stubbornness — to acknowledge even the possibility of failure. And that was what she would have to accept if she looked up from her wildly bread-making hands and saw Aviva, with that grim measuring gaze of hers, holding up the bag of intravenous saline to catch the sunshine, her mouth drawn into a thin defeated line.\u003c/p>\n\u003cp>“Don’t fall asleep, Mommy,” Arcadia said. “Here comes Daddy with the towels.”\u003c/p>\n\u003cp>***\u003c/p>\n\u003cp>Gwen hurried along the corridor, bleeding from a fresh cut on her left cheek, trussing her belly with one arm, trying to keep up with Aviva, who was trying to keep up with the single-masted gurney on which Lydia Frankenthaler was being sailed toward one of the emergency room ORs by a crew of two nurses and the EMT who had accidentally slammed the ambulance door on Gwen’s face. The EMT hit the doors ass-first and banged on through, and the nurse who was not steering the IV pole turned and faced down the midwives as the doors swung shut behind her. She was about Gwen’s age, midthirties, a skinny ash eyed blonde with her hair in a rubberband ponytail, wearing scrubs patterned with the logo of the Oakland A’s. “I’m really sorry,” she said. She looked very faintly sorry. “You’ll have to wait out here.”\u003c/p>\n\u003cp>This was a sentence being passed on them, a condemnation and a banishment, but at first Aviva seemed not to catch on, or rather, she pretended not to catch on. As the Alice Waters of Midwives, she had been contending successfully and in frustration with hospitals for a long time, and though, by nature, she was one of the most candid and forthright people Gwen had ever known, if you sent her into battle with another nurse, an intake clerk, or most of all an OB, she revealed her self to be skilled in every manner of wheedlings and wiles. It was a skill that was called upon to one degree or another almost every time they went up against hospitals and insurance companies, and Gwen relied upon and was grateful to Aviva for shouldering the politics of the job so ably. She envied the way it seemed to cost Aviva nothing to eat shit, kiss up, make nice. Catching babies was the only thing Aviva cared about, and she would surrender anything except her spotless record for catching them safe and sound. She had, Gwen felt, that luxury.\u003c/p>\n\u003cp>“No, no, of course, we’ll wait,” Aviva said in a chipper voice. She made a great show of gazing down at herself, at her white shirt with its chart of blood islands, at the chipped polish on her big toenail. With the same partly feigned air of disapproval, she surveyed Gwen’s cheek, her played-out saggy-kneed CP Shades. Then Aviva nodded, granting with a smile the whole vibe of dirt and disorder that the partners were giving off. “But after we clean up and scrub in, right? then it’s no problem, right” — leaning in to read the nurse’s badge — “Kirsten? If you want to check with Dr. Bernstein, I’m sure …”\u003c/p>\n\u003cp>Gwen could see the nurse trying to determine whose responsibility it was in this situation to be the Asshole, which was of course the purpose of Aviva’s gambit. Sometimes that awful responsibility turned out to be endlessly deferrable, and other times you got lucky and ended up in the hands of someone too tired or busy to give a damn.\u003c/p>\n\u003cp>“Bernstein’s stuck in traffic,” Kirsten said. “The attending’s Dr. Lazar. I’ll check with him. In the meantime, why don’t you two ladies go ahead and have a seat.” She told Gwen, “You’re going to want to have a seat.”\u003c/p>\n\u003cp>\u003cem>You have a seat, bitch. That’s my patient maybe bleeding to death in there.\u003c/em>\u003c/p>\n\u003cp>“No, thank you,” Gwen said. “I prefer to stand.”\u003c/p>\n\u003cp>Her relations toward authority, toward its wielders and tools, were — had to be — more complicated than her partner’s. She could not as blithely subordinate her pride and self-respect to the dictates of hospital politics, distill her practice of midwifery, the way Aviva did, to the fundamental business of the Catch. But Gwen knew, the way a violinist knew tonewood, how to work it. She had grown up in a family of doctors, lawyers, teachers, cops. For many years her father was an assistant district attorney for the city of Washington, D.C., and then a lawyer for the Justice Department. Both of her mother’s sisters were nurses. Her uncle Louis had been a D.C. patrolman and plainclothesman and was now the chief of security for Howard University, and her brother, Ernest, ran a lab at George Mason. To the extent that Gwen had been hassled in her life by representatives of the white establishment, she had been trained to get the better of the situation without compromising herself, some times by dropping a name, sometimes by showing a respect that she genuinely felt or could at least remember how to simulate. Mostly by letting the doc or the officer feel that she understood how it was to be on the job.\u003c/p>\n\u003cp>“But truly, thank you, Kirsten,” Gwen added, reaching for chipper like a note that was just beyond her range. “We really appreciate your taking the time. We know how busy you are.” She smiled. “And maybe I will sit down a minute, at that.”\u003c/p>\n\u003cp>As though doing Kirsten a favor, Gwen lowered herself into one of the plastic chairs bolted to a nearby wall.\u003c/p>\n\u003cp>“Definitely want to have somebody look at that cheek,” the nurse said, her brittle tone expressing solicitude for the cheek less, Gwen thought, than for her own worn-out, urban-population-serving self.\u003c/p>\n\u003cp>“Oh, thank you so much for your concern,” Gwen said. Struggling a little harder, knowing from the way Aviva was looking at her, that she was starting, in Aviva’s phrase, to \u003cem>leak\u003c/em>. “Now, please, honey, go ask the doc when we can see our patient.”\u003c/p>\n\u003cp>It must have been the “honey.”\u003c/p>\n\u003cp>Kirsten said, “She’s not your patient anymore.”\u003c/p>\n\u003cp>This was not technically true. As a result of years of hard work, steady and sound practice, slowly evolving cultural attitudes in the medical profession, and long, unrelenting effort begun by its founder and senior practitioner, by the summer of 2004, Berkeley Birth Partners enjoyed full privileges at Chimes General Hospital, with every right to assist in and attend to the care of Lydia Frankenthaler, who would remain a patient until such time as Lydia herself decided otherwise. But Aviva and Gwen had come this evening in an ambulance, giving off a whiff of trouble, with an unnecessary police escort they had managed to acquire along the way. Like a pair of shit-caked work boots, they were being left outside on the porch.\u003c/p>\n\u003cp>“We’ll wait here.” Aviva stepped in with the perfect mixture of unctuous sweetness and professional concern, spiking it lightly, like a furtive elbow to the ribs, with a warning to Gwen to seal all leaks or else shut the hell up. “As soon as you talk to the attending, you come find us, okay, Kirsten?”\u003c/p>\n\u003cp>Gwen followed Aviva into the bathroom, fighting the urge to apologize, wanting to point out that if you were white, eating shit was a choice you could make if you wanted; for a black woman, the only valid choice was not to.\u003c/p>\n\u003cp>In silence at separate sinks, they washed their hands and faces and rued the ruination of their shirts. The reverberation of water against porcelain intensified the silence. In the mirror, Gwen saw her partner staring at the bloodstains with an emotion between horror and hollowness, looking every one of her fortyseven years. Then their eyes met in the reflection, and the defeated look was gone in an instant, smuggled off, hooded and manacled, to the internal detention facility where Aviva Roth-Jaffe sent such feelings to die.\u003c/p>\n\u003cp>“I know,” Gwen said. “I was leaking.”\u003c/p>\n\u003cp>“Literally,” Aviva said, coming in to get a look at the damage the ambulance door had done to Gwen’s cheek. It had stopped bleeding, but when Aviva touched it, a fresh droplet formed a bead on the cut’s lower lip. The cut was about the size of a grain of pomegranate, pink and ugly. It would leave a scar, and Gwen was prone to keloids, and so forever after, she thought, she would have something special to remind her of this wonderful day. In her mind, she replayed her stumble, the optic flash as her face struck the steel corner.\u003c/p>\n\u003cp>“You need a stitch,” Aviva said. She leaned in to look at Gwen’s cut. “Maybe two.”\u003c/p>\n\u003cp>They went out to the ER and, after a few minutes of further genial self-abasement by Aviva, found themselves shown into an examination room with needle, suturing thread, and a hemostat. When it came time for novocaine, Gwen sat on her hands and told Aviva to go ahead and sew it up. “One stitch I can handle straight,” she said.\u003c/p>\n\u003cp>“Better call it two.”\u003c/p>\n\u003cp>“Two, then.”\u003c/p>\n\u003cp>“Aren’t you fucking macho.”\u003c/p>\n\u003cp>“I’m liable to start crying anyways, might as well give me a reason.” Gwen gasped as the needle bit. “Ow, Aviva, ouch.”\u003c/p>\n\u003cp>Aviva tugged the thread with a severe gentleness, breath whistling in her nostrils. Gwen focused her attention on the pendant that hung from a leather thong around Aviva’s throat. It had been made by Julie Jaffe in a flame-work class at the Crucible, lovely and enigmatic, a small glass planet, a teardrop of blue alien seas and green continents and polar caps tinted ice blue. For as long as Gwen had known him, Julie had been a mapper of worlds, on newsprint and graph paper and in the phosphor of a computer screen. Gwen recalled having asked him where he found the inspiration for the tiny glass world he had presented her as a Christmas present last year, and she tried to take comfort or at least find shelter from the pain of the suture needle in the memory of his reply: \u003cem>By living there\u003c/em>. Then Aviva sank the barb a second time, and that was when Gwen started to cry, no big show or anything, they were both a couple of cool customers, your Berkeley Birth Partners. No sobbing. No whoops of grief. Just tears welling up and spilling over, stinging in the fresh seam of the wound. To be honest, it felt pretty good.\u003c/p>\n\u003cp>She permitted the tears to flow only as long as it took Aviva to snip the thread from the second stitch, lay down the hemostat, peel off her gloves, and hand Gwen a tissue. Gwen dabbed her eyes and then used the tissue to blow her nose, a nice big honking blast.\u003c/p>\n\u003cp>“They aren’t going to let us in,” Gwen said bitterly. “I guess not.”\u003c/p>\n\u003cp>“Where’s Bernstein?”\u003c/p>\n\u003cp>“He was in the city. He’s coming.”\u003c/p>\n\u003cp>“We need to be \u003cem>in \u003c/em>there. They’re going to want to do a hysterectomy, I know it. When all they need to do is just \u003cem>wait \u003c/em>a little. Lazar. Who’s Lazar?”\u003c/p>\n\u003cp>“Don’t know him.”\u003c/p>\n\u003cp>“Tell me she’s going to be all right.” “She will be all right.”\u003c/p>\n\u003cp>“I should have noticed it sooner.”\u003c/p>\n\u003cp>“There was nothing to notice until you noticed it. You noticed it right away.”\u003c/p>\n\u003cp>Gwen nodded, ducking her head, balling the tissue in her fist. She stood up and paced the room, stopped, hugged herself, notching her arms into the groove over the swell of her abdomen. She sat down, stood up, blew her nose again, and paced the room some more. She knew perfectly well there was nothing anyone could have done, but somehow that only made it feel more imperative to blame herself. It implied no kind of self-exoneration if she felt compelled to blame some other people, too. “I can’t believe they aren’t letting us in there!”\u003c/p>\n\u003cp>“Take it easy,” Aviva said in a hushed voice that was meant, Gwen knew, to communicate the fact that she was talking too loudly. But Gwen could tell that she was rattling Aviva, and for some reason, it pleased her to see it. For the second time that day, she had a sense of trespassing on some internal quarantine, crossing a forbidden zone into the \u003cem>ponfarr\u003c/em>; amok time. It would not be right for Aviva to make her go there alone.\u003c/p>\n\u003cp>“I’ve had enough of this,” Gwen said. “Aviva, no, seriously. Listen to me.”\u003c/p>\n\u003cp>“I can hear you loud and clear, Gwen.”\u003c/p>\n\u003cp>“Come on. You have worked too hard. We have both earned the right to be treated better than this.”\u003c/p>\n\u003cp>There was the squeak of a sneaker on tiled floor. The partners turned, startled, to the door of the examining room, where a young pink-faced doctor appeared, his head shaved almost to the scalp, leaving only a ghostly chevron of pattern baldness. Dead-eyed, already tired of listening to them before they ever opened their mouths.\u003c/p>\n\u003cp>“I’m Dr. Lazar,” he said. “I was able to do a manual removal of the placenta. Mrs. Frankenthaler is stable, uterine tonicity looks good. We stopped the bleeding. She’ll be fine.”\u003c/p>\n\u003cp>The partners stood, perfectly still, tasting the news like thirsty people trying to decide if they had just felt a drop of rain. Then they fell on each other and hung on tight, Gwen half stupid with relief, drunk on it, clinging to Aviva as if to keep the room from spinning.\u003c/p>\n\u003cp>Dr. Lazar studied the celebration with his flounder eyes and a mean smile like a card cheat with a winning hand. “Do you think,” he said after an interval not quite long enough to pass for decent, “uh, I don’t know, do either of you ladies think maybe you could explain to me how you managed to screw up this birth quite so badly?”\u003c/p>\n\u003cp>“Excuse me?” Gwen said, letting go of Aviva as the dizziness abruptly passed.\u003c/p>\n\u003cp>“Ten more minutes of sage-burning or whatever voodoo you were working, and that mom — “\u003c/p>\n\u003cp>\u003cem>“Voodoo?”\u003c/em>Gwen said.\u003c/p>\n\u003cp>Instead of wincing at this clear instance of having said something he was bound to regret, Dr. Lazar turned gelid, immobile. But he flushed to the tips of his ears. “You know what?” he said. “Whatever.”\u003c/p>\n\u003cp>He turned and walked out of the room, and Gwen noticed a purple Skittle adhering to the seat of his surgical scrub trousers. For some reason, the sight of the smashed piece of candy stuck on the doctor’s ass inspired a minute compassion for the fish-eyed and weary young man with his burden of alopecia, and this, in turn, sent her over the edge.\u003c/p>\n\u003cp>“Gwen!” Aviva said, but it was too late, and anyway, the hell with her.\u003c/p>\n\u003cp>***\u003c/p>\n\u003cp>An hour ago, when they had blown in on a gust of urgency from the ambulance bay, EMT yelling instructions, calling for a stretcher, Garth looking modestly wild-eyed, dancing like a man who had to pee, holding the baby who needed to be fed, Aviva breaking out a bottle of Enfamil from her backpack and cracking it with a sigh and that formula smell of vitamins and cheese, the wonderful avid baby needing every ounce of it — Gwen had failed to remark just how busy it was tonight at the emergency room of Chimes General Hospital.\u003c/p>\n\u003cp>Every room seemed to be occupied. Her pursuit of Dr. Lazar was haunted at its edges by glimpses of a pale hairy shin slashed with red. A forlorn teenager in a volleyball uniform clutching her arm at a surrealist angle.A young man with baby dreadlocks gripping either side of a sink as if about to vomit. The whole scene scored with a discordant soundtrack of televisions and woe, the nattering of SpongeBob, an old man’s ursine expectorations, a pretty Asian woman cursing like a sailor as something nasty was extracted from the meat of her hand, the horrific shrieking of a toddler being held down by its father while a phlebotomist probed its arm for a vein. Outside the last examination room before the waiting area, a young Hispanic man lolled in a chair, holding a bloody ice pack to his face, while from inside the room, a doctor yelled cheerfully in English at his bleeding companion as if the man were deaf and retarded.\u003c/p>\n\u003cp>“I am a nurse,” Gwen said, managing to sound calmer than she felt, catching up with Lazar. “Please tell me that I did not just hear you employ the term ‘voodoo’ in reference to my licensed and certified practice of midwifery.”\u003c/p>\n\u003cp>Lazar stopped at the threshold of the waiting area, where he planned, she assumed, to tell Garth and Arcadia that Lydia would be okay, business that was definitely more important, as Gwen knew perfectly well in some cool, quiet corner of her being, than whatever point she was attempting to make. The doctor turned to confront her with an air of resigned willingness to go along, an obedient soldier saddling up for the ride into the valley of death.\u003c/p>\n\u003cp>“I know you were burning something,” he said. “I could smell it on her.”\u003c/p>\n\u003cp>“It was ylang-ylang,” Aviva said, hurrying up behind them, taking a step toward Gwen as if to interpose her body between Gwen and the doctor. “Her husband was burning it during the first part of her labor. She likes the smell.”\u003c/p>\n\u003cp>“That woman,” Gwen said, “Lydia. The placenta was retained. There was stage zero hemorrhage, borderline stage one. Uterine atonicity. And she went into a hypovolemic shock.”\u003c/p>\n\u003cp>“Correct,” the doctor said, impatient.\u003c/p>\n\u003cp>“Even though we had her on a course of supplements and immediately began to administer oxytocin and do uterine massage. Exactly like you or any doctor would have done. Is that not correct?”\u003c/p>\n\u003cp>He blinked, not wanting to give up anything to her.\u003c/p>\n\u003cp>“So tell me this, Doctor, how many accretas, how many postpartum hemorrhages, have you guys had here this month? Like, what, I’m going to say six?”\u003c/p>\n\u003cp>“I wouldn’t know.”\u003c/p>\n\u003cp>“Ten?”\u003c/p>\n\u003cp>“I don’t know the answer to that, Ms. Shanks, but see, the thing is, when those things happen here, okay? When they happen here? When there’s some hemorrhaging? Which does occur, of course. Then the patient’s \u003cem>already in the damn hospital\u003c/em>. Where she ought to be.”\u003c/p>\n\u003cp>Gwen looked over at the young man with the ice pack, his visible eye dull and maddened, his knuckles swollen like berries on the point of rot.\u003c/p>\n\u003cp>“You know what?” Aviva said, and out came the pointing finger so feared by all who loved her, Gwen among them, as the Berkeley faded and the Brooklyn broke through, and all at once Aviva’s proximity no longer buffered but menaced the doctor. “In fifteen years, my practice has never lost a single mother. And not one single baby. Can this place make that claim? No, I happen to know very well it can’t, and so do you.”\u003c/p>\n\u003cp>“Who would ever want to have a baby \u003cem>here\u003c/em>?” Gwen observed, half to herself, a hand settling on her belly like an amulet or shield.\u003c/p>\n\u003cp>“It’s a \u003cem>birth\u003c/em>,” the doctor said. “You know, call me crazy, but maybe in the end that’s one of those things you just don’t want to try at home. It’s not like conking your hair.”\u003c/p>\n\u003cp>Somebody gasped out in the waiting room. An arch, eager female voice went \u003cem>Awwwwww shit\u003c/em>.\u003c/p>\n\u003cp>“You racist,” Gwen began, “misogynist — “\u003c/p>\n\u003cp>“Oh, come on, don’t start that crap.”\u003c/p>\n\u003cp>Lazar turned his back on her and went into the waiting room. Throwing up his hands, shaking his head: all the bad acting people tended to engage in when they were most sincere. Gwen stayed right with him. Everyone in the waiting room raised their head, face blank and attentive, prepared if not hoping for further entertainment.\u003c/p>\n\u003cp>“Don’t you bait me,” Gwen said, feeling an internal string, years in the winding, snap with a delicious and terrible twang. “Don’t you ever try to bait me, you bald-headed, Peewee Herman–looking, C-sectioning, PPO hatchet man.”\u003c/p>\n\u003cp>\u003cem>Ho! Uh-\u003c/em>uh\u003cem>! Go, Mommy!\u003c/em>\u003c/p>\n\u003cp>Gwen was right up against him, her body, her belly, the pert cupola of her protruding navel flirting through the fabric of her blouse with actual physical contact. He backed off, betraying the faintest hint of fear.\u003c/p>\n\u003cp>Garth stood up, holding the baby stiffly, forlornly, as if it were a rare musical instrument, some kind of obscure assemblage of reeds and bladders that he would now be called upon to play. His blue eyes looked frightened, bewildered, and when she saw him, Gwen felt ashamed.\u003c/p>\n\u003cp>Arcadia, curled in on herself in a plastic armchair, woke up and started to cry.\u003c/p>\n\u003cp>“Mr. Frankenthaler?” the doctor said.\u003c/p>\n\u003cp>“Garth, she’s fine,” Aviva said. She hurried over to Garth, rubbed his shoulder. “She’s fine, she’s going to be fine.”\u003c/p>\n\u003cp>“Why don’t you come with me, Mr. Frankenthaler? I’ll take you to see your wife,” Lazar said.\u003c/p>\n\u003cp>“She isn’t my wife,” Garth said, dazed. “My last name is Newgrange.” Lazar crouched down in front of Arcadia and spoke, in a tender voice, words that only she could hear. She nodded and sniffled, and he moved a thick coil of her dark hair, damp at the end with tears, out of her eyes, painting a shining trail across her cheek. Suddenly, the man was the kindest doctor in the universe. He stood up, and Arcadia took hold of the hem of her father’s windbreaker, and they followed Lazar back into the ER. Two seconds later, Lazar reappeared and pointed his finger at Gwen in a parody, perhaps unconscious, of Aviva’s recent performance. “I’m writing this up,” he told Gwen, who stood there, shoulders heaving, all the righteousness emptied out of her, the last bright tankful burned off in that final heavenward blast. “Count on that.”\u003c/p>\n\u003cp>“Did you hear the way he spoke to me?” she said to Aviva, to the room, a note of uncertainty in the question as if seeking confirmation that she had not in fact imagined it. ” ‘Voodoo.’ ‘It’s not like having your hair conked.’ Did you hear? I know everybody in this room heard the man.” Aviva was back to the hushed voice, gently taking hold of Gwen’s elbow.\u003c/p>\n\u003cp>“I heard,” she said, “I know.”\u003c/p>\n\u003cp>“You \u003cem>know\u003c/em>? I don’t think you do.”\u003c/p>\n\u003cp>“Oh, come on,” Aviva said with an unfortunate echo of Lazar in her tone. “For God’s sake, Gwen. I’m on your side.”\u003c/p>\n\u003cp>“No, Aviva, \u003cem>I’m \u003c/em>on my side. I didn’t hear him say one damn word to \u003cem>you\u003c/em>.”\u003c/p>\n\u003cp>Gwen pulled her arm free of Aviva’s grasp and trudged out of the waiting room, through the covered entranceway to the ER, and out to the drive way, where Hekate the Volvo still sat, her hazard lights faithfully blinking. The late-summer-afternoon breeze carried a smell of the ocean. Gwen shivered, a spasm that started in her arms and shoulders but soon convulsed everything. She had barely eaten all day, which was horrible, reprehensible, two months from delivery and already a Bad Mother. Now she felt like she was starving and at the same time like she might throw up. The stitches burned in her cheek. There was a reek of butts and ashes, out here beyond the doors, and a live thread of fresh smoke. She turned to see a pair of women whom she recognized from the waiting room, young and wide-eyed with matching taffy curls, cousins or possibly sisters, one of them even more hugely pregnant than Gwen, sharing a Kool with an air of exuberant impatience as if, when they finished it, something good was going to happen to one or both of them.\u003c/p>\n\u003cp>“Hello,” Gwen said, and they laughed as if she had said something stupid or as if she herself were stupid regardless of what she might say. They were among those who had cheered and taken great pleasure in Gwen’s public argument with Dr. Lazar. The pregnant one smoked, in haling in that strange impatient way, and studied Gwen as if the sight of her confirmed some long-held theory.\u003c/p>\n\u003cp>“You a midwife?” the pregnant woman said.\u003c/p>\n\u003cp>Gwen nodded, trying to look proud and competent, a credit to her profession and her people. The pregnant woman dropped the burning cigarette and stepped on it, and then she and her companion turned to walk back to the emergency room, the pregnant woman’s flip-flops scraping and slapping against the soles of her feet.\u003c/p>\n\u003cp>“See, now,” she told her companion, “don’t want to be messing with that country shit.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>From the forthcoming novel \u003c/em>Telegraph Avenue\u003cem>. Copyright 2012 by Michael Chabon. Reprinted by permission of the author. Audio courtesy Harper Audio. All rights reserved.\u003c/em>\u003cem>\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=Exclusive+First+Read%3A+%27Telegraph+Avenue%27&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/106451/exclusive_first_read_telegraph_avenue",
"authors": [
"109"
],
"categories": [
"arts_1",
"arts_73"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10106451",
"label": "arts_137"
},
"arts_106448": {
"type": "posts",
"id": "arts_106448",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "106448",
"score": null,
"sort": [
1345777471000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1345777471,
"format": "standard",
"title": "IM, IM, IM Superman: Morning-After Texts Between Superman, Wonder Woman",
"headTitle": "IM, IM, IM Superman: Morning-After Texts Between Superman, Wonder Woman | KQED",
"content": "\u003cp>Next week, in \u003cem>Justice League\u003c/em> #12, The Man of Steel and the Amazing Amazon will … get their respective super-powered grooves on, \u003ca href=\"http://shelf-life.ew.com/2012/08/22/justice-league-12-exclusive/\">according to Entertainment Weekly\u003c/a>.\u003c/p>\n\u003cblockquote>\n\u003cp>Writer Geoff Johns hints that some event — possibly tragic — will impact every member of the Justice League, and cause Superman and Wonder Woman to seek solace in each other and move from super-powered colleagues to power couple. This is no one-issue stunt: “This is the new status quo,” says Johns, adding that the relationship will have a seismic impact on all the heroes and villains in the DC universe.\u003c/p>\n\u003c/blockquote>\n\u003cp>… “Power couple.” Oy.\u003c/p>\n\u003cp>The two have been romantically linked in the past, by writers like Frank Miller (\u003cem>The Dark Knight Strikes Back\u003c/em>) and John Byrne (\u003cem>Action Comics #600\u003c/em>). But Miller’s romance took place in an alternate-future that exists inside the writer’s increasingly wackadoo head, while Byrne’s Superman and Wonder Woman were two ships — er, fully armed and operational battle stations — passing in the night.\u003c/p>\n\u003cp>This isn’t quite the scandal it could be. DC’s universe-wide “New 52” relaunch dissolved the Superman-Lois Lane marriage last year, even as it served to further complicate Wonder Woman’s already complicated love life.\u003c/p>\n\u003cp>In her own post-reboot title, written by Brian Azzarello, Wonder Woman is too busy dealing with gods-and-monsters-style mythic horror to worry much about making kissy-face with anyone, while in the pages of \u003cem>Justice League\u003c/em>, writer Geoff Johns not-so-coyly suggests that Diana’s broken her share of hearts (male and female, mortal and im-) in her time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Will these two crazy kids make a go of it? Will the gossip pages fill with all manner of wild speculation over \u003cdel>SuWon\u003c/del> \u003cdel>KalDi\u003c/del> SUP4WON?\u003c/p>\n\u003cp>After the jump, NPR’s Monkey See has intercepted a series of texts between a “BigRedESS” and a “1derWymyn” which may provide a clue.\u003c/p>\n\u003cp>BigRedESS (5:33 a.m.): watchin u sleep now 😉\u003c/p>\n\u003cp>BigRedESS (5:34 a.m.): ur pretty 🙂\u003c/p>\n\u003cp>BigRedESS (5:45 a.m.): lookin at ur lungs. They r clean haha\u003c/p>\n\u003cp>BigRedESS (5:46 a.m.): man ur heart is big lol\u003c/p>\n\u003cp>BigRedESS (5:47 a.m.): i mean like large anatomically haha tho u r really generous too i bet\u003c/p>\n\u003cp>BigRedESS (5:50 a.m.): wow you got out of bed fast\u003c/p>\n\u003cp>BigRedESS (5:51 a.m.): mouthwash is in the medicine cabinet top left\u003c/p>\n\u003cp>1derWymyn (5:52 a.m.): DUDE. WHY ARE YOU TEXTING ME? I AM RIGHT HERE.\u003c/p>\n\u003cp>BigRedESS (5:52 a.m.): goooood moooorning!!!!!!!!!!\u003c/p>\n\u003cp>BigRedESS (5:52 a.m.): ?\u003c/p>\n\u003cp>BigRedESS (5:52 a.m.): u r shouting at me now but u r still cute not a morning person i guess ok lol\u003c/p>\n\u003cp>1derWymyn (5:53 a.m.): OKAY SINCE YOU ARE NOT ANSWERING MY QUESTION WE’LL DO IT THIS WAY. HOW DID YOU KNOW I WAS LOOKING FOR THE MOUTHWASH? ARE YOU X-RAY VISION-ING ME? IN THE BATHROOM? SERIOUSLY?\u003c/p>\n\u003cp>1derWymyn (5:55 a.m.): NO ANSWER?\u003c/p>\n\u003cp>BigRedESS (5:56 a.m.): lucky guess\u003c/p>\n\u003cp>BigRedESS (6:00 a.m.): u were great last nite :O\u003c/p>\n\u003cp>BigRedESS (6:01 a.m.): hello?\u003c/p>\n\u003cp>BigRedESS (6:02 a.m.): helloooooo? my amazon princess? xxoo\u003c/p>\n\u003cp>BigRedESS (6:03 a.m.): haha you flew out the bathroom window lol u r funny too 🙂\u003c/p>\n\u003cp>BigRedESS (6:04 a.m.): lunch ltr?\u003c/p>\n\u003cp>BugRedESS (6:05 a.m.): well?\u003c/p>\n\u003cp>BigRedESS (6:05 a.m.): ?????\u003c/p>\n\u003cp>BigRedESS (6:06 a.m.): ok well i will text u ltr gotta save da world etc etc haha\u003c/p>\n\u003cp>BigRedESS (8:05 a.m.): flyin 2 the moon 4 a thing. the stars look like your shorts sexxxxyyyyy 😉\u003c/p>\n\u003cp>BigRedESS (8:06 a.m.): so i m thinking of u is my point 🙂 🙂 🙂\u003c/p>\n\u003cp>BigRedESS (10:00 a.m.): hey\u003c/p>\n\u003cp>BigRedESS (10:05 a.m.): u around?\u003c/p>\n\u003cp>BigRedESS (10:06 a.m.): its just that i ran into atlas the titan and he sed he dated u?\u003c/p>\n\u003cp>BigRedESS (10:07 a.m.): its cool i just didnt kno that\u003c/p>\n\u003cp>BigRedESS (10:07 a.m.): wuz he good 2u? u can tell me\u003c/p>\n\u003cp>BigRedESS (11:15 a.m.): where r u lets meet 4 lunch\u003c/p>\n\u003cp>1derWymyn (11:30 a.m.): BUSY\u003c/p>\n\u003cp>BigRedESS (11:31 a.m.): oh me too earthquakes etc no its fine\u003c/p>\n\u003cp>BigRedESS (11:32 a.m.): txt u ltr 4 dinner?\u003c/p>\n\u003cp>BigRedESS (1:34 p.m.): wonder womaaaaaan! wonder womaaaaaan! all the world is waiting for uuuuuu! and the powers u possesssssss!\u003c/p>\n\u003cp>BigRedESS (1:36 p.m.): stop a bullet cold! make the axis fold! change their miiiiinds! and change the woooooooorld!!!! 🙂\u003c/p>\n\u003cp>1derWymyn (1:37 p.m.): IT WAS A MISTAKE.\u003c/p>\n\u003cp>BigRedESS (1:37 p.m.): there you are princess! thai food 2nite?\u003c/p>\n\u003cp>1derWymyn (1:38 p.m.): CIRCE. SHE’S MY ARCH-VILLAIN. SHE SLIPPED ME A LOVE POTION. IT WAS A WHOLE THING. I DON’T THINK OF YOU THAT WAY. LET’S STAY FRIENDS. IT’S NOT YOU IT’S ME WHATEVER JUST STOP.\u003c/p>\n\u003cp>BigRedESS (1:39 p.m.): ?\u003c/p>\n\u003cp>BigRedESS (1:40 p.m.): very funny i knew u were funny 🙂\u003c/p>\n\u003cp>1derWymyn (1:41 p.m.): NO JOKE. IT’S BEEN REAL. SEE YOU AROUND. OH AND DON’T MENTION THIS TO BATMAN. HE GETS SQUIRRELY. YOU KNOW.\u003c/p>\n\u003cp>BigRedESS (1:42 p.m.): who is putting you up to this is it\u003c/p>\n\u003cp>1derWymyn (1:43 p.m.): AND NO, IT’S NOT LUTHOR. THERE’S NO ONE ELSE. I’M JUST NOT LOOKING FOR A RELATIONSHIP RIGHT NOW.\u003c/p>\n\u003cp>BigRedESS (1:44 p.m.): its luthor isn’t it?\u003c/p>\n\u003cp>1derWymyn (1:45 p.m.): IT’S REALLY NOT.\u003c/p>\n\u003cp>BigRedESS (1:45 p.m.): that dastardly villain!!!!!! >:( i will save you!!!!!\u003c/p>\n\u003cp>1derWymyn (1:46 p.m.): DON’T NEED SAVING.\u003c/p>\n\u003cp>BigRedESS (1:47 p.m.): is this because ur a\u003c/p>\n\u003cp>1derWymyn (1:48 p.m.): WOW. OK, PHONE IS DYING. GOTTA GO. BUT IF IT HELPS, YES. WHATEVER. BYE.\u003c/p>\n\u003cp>BigRedESS (1:49 p.m.): knew it wondered y u hadnt made a play 4 me b4\u003c/p>\n\u003cp>BigRedESS (1:50 p.m.): its cool i m cool w/it. FYI.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>BigRedESS (11:28 p.m) beeteedubs if u & whoever (hawkgirl?) want to party sometime call me maybe haha right lol 😉 😉 \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=IM%2C+IM%2C+IM+Superman%3A+Morning-After+Texts+Between+Superman%2C+Wonder+Woman&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1092,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 62
},
"modified": 1705050527,
"excerpt": "Next week, in the pages of the comic \u003cem>Justice League\u003c/em>, Superman and Wonder Woman will become involved. We have intercepted a series of IMs that augurs ill for comics' new (super-)power couple.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Next week, in the pages of the comic Justice League, Superman and Wonder Woman will become involved. We have intercepted a series of IMs that augurs ill for comics' new (super-)power couple.",
"title": "IM, IM, IM Superman: Morning-After Texts Between Superman, Wonder Woman | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "IM, IM, IM Superman: Morning-After Texts Between Superman, Wonder Woman",
"datePublished": "2012-08-23T20:04:31-07:00",
"dateModified": "2024-01-12T01:08:47-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "morningafter_texts_between_superman_wonder",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/literature/literature-nprbooks/",
"nprByline": "Glen Weldon",
"sticky": false,
"path": "/arts/106448/morningafter_texts_between_superman_wonder",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Next week, in \u003cem>Justice League\u003c/em> #12, The Man of Steel and the Amazing Amazon will … get their respective super-powered grooves on, \u003ca href=\"http://shelf-life.ew.com/2012/08/22/justice-league-12-exclusive/\">according to Entertainment Weekly\u003c/a>.\u003c/p>\n\u003cblockquote>\n\u003cp>Writer Geoff Johns hints that some event — possibly tragic — will impact every member of the Justice League, and cause Superman and Wonder Woman to seek solace in each other and move from super-powered colleagues to power couple. This is no one-issue stunt: “This is the new status quo,” says Johns, adding that the relationship will have a seismic impact on all the heroes and villains in the DC universe.\u003c/p>\n\u003c/blockquote>\n\u003cp>… “Power couple.” Oy.\u003c/p>\n\u003cp>The two have been romantically linked in the past, by writers like Frank Miller (\u003cem>The Dark Knight Strikes Back\u003c/em>) and John Byrne (\u003cem>Action Comics #600\u003c/em>). But Miller’s romance took place in an alternate-future that exists inside the writer’s increasingly wackadoo head, while Byrne’s Superman and Wonder Woman were two ships — er, fully armed and operational battle stations — passing in the night.\u003c/p>\n\u003cp>This isn’t quite the scandal it could be. DC’s universe-wide “New 52” relaunch dissolved the Superman-Lois Lane marriage last year, even as it served to further complicate Wonder Woman’s already complicated love life.\u003c/p>\n\u003cp>In her own post-reboot title, written by Brian Azzarello, Wonder Woman is too busy dealing with gods-and-monsters-style mythic horror to worry much about making kissy-face with anyone, while in the pages of \u003cem>Justice League\u003c/em>, writer Geoff Johns not-so-coyly suggests that Diana’s broken her share of hearts (male and female, mortal and im-) in her time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Will these two crazy kids make a go of it? Will the gossip pages fill with all manner of wild speculation over \u003cdel>SuWon\u003c/del> \u003cdel>KalDi\u003c/del> SUP4WON?\u003c/p>\n\u003cp>After the jump, NPR’s Monkey See has intercepted a series of texts between a “BigRedESS” and a “1derWymyn” which may provide a clue.\u003c/p>\n\u003cp>BigRedESS (5:33 a.m.): watchin u sleep now 😉\u003c/p>\n\u003cp>BigRedESS (5:34 a.m.): ur pretty 🙂\u003c/p>\n\u003cp>BigRedESS (5:45 a.m.): lookin at ur lungs. They r clean haha\u003c/p>\n\u003cp>BigRedESS (5:46 a.m.): man ur heart is big lol\u003c/p>\n\u003cp>BigRedESS (5:47 a.m.): i mean like large anatomically haha tho u r really generous too i bet\u003c/p>\n\u003cp>BigRedESS (5:50 a.m.): wow you got out of bed fast\u003c/p>\n\u003cp>BigRedESS (5:51 a.m.): mouthwash is in the medicine cabinet top left\u003c/p>\n\u003cp>1derWymyn (5:52 a.m.): DUDE. WHY ARE YOU TEXTING ME? I AM RIGHT HERE.\u003c/p>\n\u003cp>BigRedESS (5:52 a.m.): goooood moooorning!!!!!!!!!!\u003c/p>\n\u003cp>BigRedESS (5:52 a.m.): ?\u003c/p>\n\u003cp>BigRedESS (5:52 a.m.): u r shouting at me now but u r still cute not a morning person i guess ok lol\u003c/p>\n\u003cp>1derWymyn (5:53 a.m.): OKAY SINCE YOU ARE NOT ANSWERING MY QUESTION WE’LL DO IT THIS WAY. HOW DID YOU KNOW I WAS LOOKING FOR THE MOUTHWASH? ARE YOU X-RAY VISION-ING ME? IN THE BATHROOM? SERIOUSLY?\u003c/p>\n\u003cp>1derWymyn (5:55 a.m.): NO ANSWER?\u003c/p>\n\u003cp>BigRedESS (5:56 a.m.): lucky guess\u003c/p>\n\u003cp>BigRedESS (6:00 a.m.): u were great last nite :O\u003c/p>\n\u003cp>BigRedESS (6:01 a.m.): hello?\u003c/p>\n\u003cp>BigRedESS (6:02 a.m.): helloooooo? my amazon princess? xxoo\u003c/p>\n\u003cp>BigRedESS (6:03 a.m.): haha you flew out the bathroom window lol u r funny too 🙂\u003c/p>\n\u003cp>BigRedESS (6:04 a.m.): lunch ltr?\u003c/p>\n\u003cp>BugRedESS (6:05 a.m.): well?\u003c/p>\n\u003cp>BigRedESS (6:05 a.m.): ?????\u003c/p>\n\u003cp>BigRedESS (6:06 a.m.): ok well i will text u ltr gotta save da world etc etc haha\u003c/p>\n\u003cp>BigRedESS (8:05 a.m.): flyin 2 the moon 4 a thing. the stars look like your shorts sexxxxyyyyy 😉\u003c/p>\n\u003cp>BigRedESS (8:06 a.m.): so i m thinking of u is my point 🙂 🙂 🙂\u003c/p>\n\u003cp>BigRedESS (10:00 a.m.): hey\u003c/p>\n\u003cp>BigRedESS (10:05 a.m.): u around?\u003c/p>\n\u003cp>BigRedESS (10:06 a.m.): its just that i ran into atlas the titan and he sed he dated u?\u003c/p>\n\u003cp>BigRedESS (10:07 a.m.): its cool i just didnt kno that\u003c/p>\n\u003cp>BigRedESS (10:07 a.m.): wuz he good 2u? u can tell me\u003c/p>\n\u003cp>BigRedESS (11:15 a.m.): where r u lets meet 4 lunch\u003c/p>\n\u003cp>1derWymyn (11:30 a.m.): BUSY\u003c/p>\n\u003cp>BigRedESS (11:31 a.m.): oh me too earthquakes etc no its fine\u003c/p>\n\u003cp>BigRedESS (11:32 a.m.): txt u ltr 4 dinner?\u003c/p>\n\u003cp>BigRedESS (1:34 p.m.): wonder womaaaaaan! wonder womaaaaaan! all the world is waiting for uuuuuu! and the powers u possesssssss!\u003c/p>\n\u003cp>BigRedESS (1:36 p.m.): stop a bullet cold! make the axis fold! change their miiiiinds! and change the woooooooorld!!!! 🙂\u003c/p>\n\u003cp>1derWymyn (1:37 p.m.): IT WAS A MISTAKE.\u003c/p>\n\u003cp>BigRedESS (1:37 p.m.): there you are princess! thai food 2nite?\u003c/p>\n\u003cp>1derWymyn (1:38 p.m.): CIRCE. SHE’S MY ARCH-VILLAIN. SHE SLIPPED ME A LOVE POTION. IT WAS A WHOLE THING. I DON’T THINK OF YOU THAT WAY. LET’S STAY FRIENDS. IT’S NOT YOU IT’S ME WHATEVER JUST STOP.\u003c/p>\n\u003cp>BigRedESS (1:39 p.m.): ?\u003c/p>\n\u003cp>BigRedESS (1:40 p.m.): very funny i knew u were funny 🙂\u003c/p>\n\u003cp>1derWymyn (1:41 p.m.): NO JOKE. IT’S BEEN REAL. SEE YOU AROUND. OH AND DON’T MENTION THIS TO BATMAN. HE GETS SQUIRRELY. YOU KNOW.\u003c/p>\n\u003cp>BigRedESS (1:42 p.m.): who is putting you up to this is it\u003c/p>\n\u003cp>1derWymyn (1:43 p.m.): AND NO, IT’S NOT LUTHOR. THERE’S NO ONE ELSE. I’M JUST NOT LOOKING FOR A RELATIONSHIP RIGHT NOW.\u003c/p>\n\u003cp>BigRedESS (1:44 p.m.): its luthor isn’t it?\u003c/p>\n\u003cp>1derWymyn (1:45 p.m.): IT’S REALLY NOT.\u003c/p>\n\u003cp>BigRedESS (1:45 p.m.): that dastardly villain!!!!!! >:( i will save you!!!!!\u003c/p>\n\u003cp>1derWymyn (1:46 p.m.): DON’T NEED SAVING.\u003c/p>\n\u003cp>BigRedESS (1:47 p.m.): is this because ur a\u003c/p>\n\u003cp>1derWymyn (1:48 p.m.): WOW. OK, PHONE IS DYING. GOTTA GO. BUT IF IT HELPS, YES. WHATEVER. BYE.\u003c/p>\n\u003cp>BigRedESS (1:49 p.m.): knew it wondered y u hadnt made a play 4 me b4\u003c/p>\n\u003cp>BigRedESS (1:50 p.m.): its cool i m cool w/it. FYI.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>BigRedESS (11:28 p.m) beeteedubs if u & whoever (hawkgirl?) want to party sometime call me maybe haha right lol 😉 😉 \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=IM%2C+IM%2C+IM+Superman%3A+Morning-After+Texts+Between+Superman%2C+Wonder+Woman&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/106448/morningafter_texts_between_superman_wonder",
"authors": [
"byline_arts_106448"
],
"categories": [
"arts_1",
"arts_73"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10106448",
"label": "arts_137"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"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.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"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.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"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.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"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.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"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.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=literature": {
"isFetching": false,
"latestQuery": {
"from": 1356,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 1917,
"relation": "eq"
},
"items": [
"arts_107774",
"arts_107773",
"arts_107772",
"arts_107776",
"arts_107353",
"arts_107296",
"arts_107207",
"arts_106797",
"arts_106759",
"arts_106532",
"arts_106451",
"arts_106448"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_category_literature": {
"isLoading": true
},
"arts_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
},
"arts_330": {
"type": "terms",
"id": "arts_330",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "330",
"found": true
},
"relationships": {},
"featImg": null,
"name": "The Writers' Block",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "The Writers' Block Archives | KQED Arts",
"ogDescription": null
},
"ttid": 331,
"slug": "writersblock",
"isLoading": false,
"link": "/arts/tag/writersblock"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"arts_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
}
}
