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"content": "\u003cp>Most readers know the San Francisco-born former U.S. Poet Laureate and literary award-magnet Robert Hass for his poetry, but every now and then he puts out a dense, delicious collection of essays. The new one, \u003ci>What Light Can Do: Essays on Art, Imagination, and the Natural World\u003c/i>, seems aptly named and trades in all manner of illumination.\u003c/p>\n\u003cp>Hass likes Simone Weil’s idea of attention as prayer, and his book is accordingly devotional. That counts for a lot in our era of unholy-seeming inattention. It sets a fine example of erudition as a path to enlightenment. Not an easy path, necessarily, but a worthy one. “In essay,” Hass told Michael Krasny on \u003ci>Forum\u003c/i> yesterday, “you’re climbing the cliff bare-handed.” Indeed, he makes deep reading and thought gathering seem like a white-knuckle feat of oneness with the world.\u003c/p>\n\u003cp>The essential pleasure of any essay is intellectual companionship, and Hass reveals himself working out his ideas, be they about correspondences between Chekhov and Naipaul or between Robert Buelteman’s Coast Range photographs and “something like the formality of bereavement.” Even in self-conscious approximation, Hass strives for exactness. He resists taking his readers’ companionship for granted.\u003c/p>\n\u003cp>Yet he also allows that he’s had to make some effort to understand people who find poetry boring or intimidating. This is a man once made nauseous by his own nagging incomprehension of T.S. Eliot. This is a man first drawn to poems because he detected “more life in them than seemed available to me.” Importantly, and in fact graciously, this is a man who won’t dignify an illiterate world.\u003c/p>\n\u003cp>So of course in addition to writing he’s been teaching literature at UC Berkeley, where not long ago a grove of oaks gave way, via a heated and lengthy tree-sitting standoff, to plans for a new athletic facility. To prepare for his public address on that development, the text of which concludes the new book, Hass obtained the Environmental Impact Report, toured the site, researched and ruminated on the history of his university — which, as he also noted on \u003ci>Forum\u003c/i>, has a complicated habit of “glamorizing civil disobedience and then beating people up if they try it out.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With all due historically attuned humility, Hass understands brilliance as a matter not just of visibility but also of comprehension. “Often in both the arts and sciences, we see what’s there in a flash,” he writes near the end of that final piece, “but it has taken us hours or years of patient labor to get there and then to name what we have seen.” That’s the usefulness of a poet’s essayistic scrutiny: the power to permanently light things up.\u003c/p>\n\u003cp>Robert Hass reads from and discusses \u003ci>What Light Can Do\u003c/i> at 7pm Tuesday, August 28, 2012, at Book Passage in Corte Madera. For \u003ca href=\"http://bookpassage.com/event/robert-hass-what-light-can-do-essays-art-imagination-and-natural-world\">tickets and information\u003c/a>, visit bookpassage.com.\u003c/p>\n\u003cp>Listen to the August 22, 2012 Forum interview with Robert Hass:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cobject width=\"335\" height=\"85\">\u003cparam name=\"movie\" value=\"http://www.kqed.org/assets/flash/kqedplayer.swf\">\u003cparam name=\"flashvars\" value=\"file=http://www.kqed.org/radio/archives/R201208221000.xml\">\u003cembed src=\"http://www.kqed.org/assets/flash/kqedplayer.swf\" type=\"application/x-shockwave-flash\" width=\"335\" height=\"85\" flashvars=\"file=http://www.kqed.org/radio/archives/R201208221000.xml\">\u003c/embed>\u003c/object>\u003c/p>\n\n",
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"content": "\u003cp>It’s been a few decades, and many published books, but Robert Crais can tell you exactly when mystery writing first caught his attention: He was a bright 15-year-old living in Baton Rouge, La., when he read Raymond Chandler’s \u003cem>The Little Sister\u003c/em>, which depicted the shady side of sunny Los Angeles through the eyes of private investigator Philip Marlowe.\u003c/p>\n\u003cp>Since then, Crais has found huge success with his own crime novels, also set in LA. 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Crais says the consequences of that have dogged his PI ever since.\u003c/p>\n\u003cp>“That instability in his early life is something that I thought important,” he says. “That’s one of the reasons he is the way he is. He’s trying to make sense out of the world; he’s trying to make sense of it for himself, and he transfers that to the people he works for.”\u003c/p>\n\u003cp>Cole’s partner and best friend is Joe Pike, essentially Cole’s opposite — as taciturn as Cole is glibly chatty. Cole dresses in colorful Hawaiian shirts, while Pike is black and gray. Cole seems open; Pike is purposefully inscrutable. Crais says Cole’s job is to restore normalcy to his clients’ lives, even as he knows it’s personally unattainable.\u003c/p>\n\u003cp>“He admires normal,” Crais says. “I think, in many ways, Joe Pike does, too. They’re trying to achieve balance and normalcy because they admire it, but they don’t know how to get there. That’s one of the reasons they’re so much fun for me to write.”\u003c/p>\n\u003cp>\u003cstrong>‘Potential For Horror And Nightmare’\u003c/strong>\u003c/p>\n\u003cp>At the mouth of the Venice canals, in LA’s Venice neighborhood, Crais points to large locks that control the flow of water into and out of the waterways. Dozens of these canals were built in the early 1900s in homage to the Italian city that is their namesake. Most were later paved over, but the remaining ones are expensive real estate, lined with colorful homes and fragrant gardens. Crais explains how the neighborhood, and its quirky engineering, played a role in his 2011 novel, \u003ca href=\"http://www.npr.org/books/titles/158998352/the-sentry\" target=\"_blank\" rel=\"noopener\">The Sentry\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>“My notion, of course, in the book was that if there were a body floating in the canals, as the canal drained, it would go downstream and be caught in the locks,” he says. “And that’s one of the devices I used.”\u003c/p>\n\u003cp>Walking along the paths that line the canals, Crais notes how tranquil the neighborhood is: Egrets fish in the reeds at the water’s edge and the quiet is only disturbed by an occasional bark. It’s a good place for things to go wrong.\u003c/p>\n\u003cp>“It’s a natural canvas,” Crais says. “You know, where there is peace and when there is tranquility, there’s always the potential for horror and nightmare.”\u003c/p>\n\u003cp>\u003cstrong>‘Chasing That Dream Of A Better Life’\u003c/strong>\u003c/p>\n\u003cp>Crais’ most recent book, \u003ca href=\"http://www.npr.org/books/titles/146269606/taken\" target=\"_blank\" rel=\"noopener\">Taken\u003c/a>, is set all over the city and out in the desert. It focuses on human trafficking, which Crais says flourishes in LA because of how the city draws all kinds of people with hopes of reinvention.\u003c/p>\n\u003cp>“People come to LA because they’re chasing that dream of a better life,” he says. “That’s why I came here, because I thought it would be a place where I would find other people like me; people who wanted to write, people who had a dream of being something else. And that proved to be true.”\u003c/p>\n\u003cp>Crais has prospered in LA. He was so certain that writing would be his life that he dropped out of Louisiana State University a semester short of graduation, packed his car and drove to Hollywood. His ear for dialogue got him work on television scripts in the ’70s and ’80s — he’s written for \u003cem>Hill Street Blues\u003c/em>, \u003cem>L.A. Law\u003c/em> and \u003cem>Cagney & Lacey\u003c/em> — but novels, especially mysteries, always tugged at him, and eventually he turned his back on a lucrative television career to write books full time. After that, he’s never looked back.\u003c/p>\n\u003cp>Crais’ 18 books, three stand-alone novels and 15 in the Cole-Pike series, have made him financially comfortable — and kind of famous. After all, not many \u003cem>New York Times\u003c/em> best-selling authors can say they’ve had a pizza named after them. Down the street from the canals, in the cafe at Small World Books, where dishes are named for famous writers, waitress Rachel Hanak lists the ingredients of the Robert Crais Pizza: salami, garlic, pepperoni and mushrooms.\u003c/p>\n\u003cp>“It’s really good,” she says.\u003c/p>\n\u003cp>\u003cstrong>‘465 Square Miles Of Insanity’\u003c/strong>\u003c/p>\n\u003cp>In his car, driving up into the Hollywood Hills and Runyon Canyon, Crais points to the kind of house Elvis Cole lives in — a glass-front A-frame with a panoramic view of the Los Angeles Basin. He says he glimpsed a similar house when he first moved to LA, and it became something for him to aspire to.\u003c/p>\n\u003cp>“And, many years later, when I created Elvis Cole, I thought why not put him in a place that had meant so much to me? So I gave him an A-frame house,” Crais says.\u003c/p>\n\u003cp>He also sends Cole and Pike on regular runs through the hills. From up here, the view of the city is stunning. Crais gazes fondly on the houses and apartments; the palm trees and the skyscrapers’ glass windows winking in the distance. LA can be a hard city, but it will always be home for Crais.\u003c/p>\n\u003cp>“There’s the Hollywood sign; there’s Griffith Observatory; there’s the great, amazing Los Angeles Basin,” he says. “It’s 465 square miles of insanity and the best food on the planet.”\u003c/p>\n\u003cp>It’s also a never-ending source of inspiration for one of modern crime’s most admired writers.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003ch3>\u003ca name=\"sidebar\">\u003c/a> \u003cstrong>5 Things You Probably Don’t Know About Robert Crais:\u003c/strong>\u003c/h3>\n\n\u003cp>\u003cstrong>1. He ran away to join the circus when he was a kid.\u003c/strong> He was 13 and his parents let him do it for the summer. He worked as the assistant to the human cannonball, but it didn’t last very long. After he discovered that the alleged explosion was actually an illusion, he decided the paying public needed to know they were being had. “He’s a fake! The human cannonball is a fake!” didn’t go over too well with the circus owners, so they returned Bobby to the bosom of his family. But his sense of justice and fair play lives on in the persona of Elvis Cole.\u003c/p>\n\u003cp>\u003cstrong>2. He was almost an engineer\u003c/strong>, which would have been a tragedy for lovers of crime fiction. He was in the School of Engineering at Louisiana State University, but engineering wasn’t something he wanted to do. He wanted to write, so a semester short of graduation, he dropped out. “It did not go over well on the homefront,” Crais says, “as you can imagine.” Presumably, all is now forgiven.\u003c/p>\n\u003cp>\u003cstrong>3. He doesn’t know what Elvis Cole or Joe Pike look like.\u003c/strong> “I can see their bodies; I can see their movement when I’m writing them, their arms, legs and so forth,” Crais says, “but their faces are always blurs. Probably if I saw their faces, I wouldn’t be able to write them. I don’t know why.”\u003c/p>\n\u003cp>\u003cstrong>4. And he doesn’t want you to, either.\u003c/strong> Crais says he wants his readers to feel free to imagine what Cole and Pike look like for themselves. It’s part of the pleasure of reading, he says: “I don’t do this alone, you know. It’s like a compact between the reader and the writer. Together, we create this experience.” That’s why he won’t ever sell his Cole-Pike novels to Hollywood — not for TV, not for movies. And there \u003cem>have\u003c/em> been several offers. (He does allow the stand-alones to be made, however: \u003cem>Hostage\u003c/em>, a thriller about a beaten-down police negotiator who is called in to try to free a terrorized family, starred Bruce Willis.)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>5. He is \u003cem>not\u003c/em>, he insists, Elvis Cole\u003c/strong>. But they do share two important things: the aforementioned sense of justice and fair play, and an unfortunate affinity for some of the loudest, most colorful shirts ever sold. Crais says, “Elvis is not me; he’s his own person, and that’s important to remember. But I do happen to like really colorful shirts — OK, really loud prints. And I thought, ‘Hey, this is something that Elvis could have — my fashion sense.'” Yikes. You’d have to borrow Pike’s sunglasses to look at Crais. (Not sure how you’d take them off him, though. Crais guesses Pike has maybe removed his sunglasses four times in the whole 15-book series.) \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=Robert+Crais%3A+L.A.+Is+%27Natural+Canvas%27+For+Nightmare&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been a few decades, and many published books, but Robert Crais can tell you exactly when mystery writing first caught his attention: He was a bright 15-year-old living in Baton Rouge, La., when he read Raymond Chandler’s \u003cem>The Little Sister\u003c/em>, which depicted the shady side of sunny Los Angeles through the eyes of private investigator Philip Marlowe.\u003c/p>\n\u003cp>Since then, Crais has found huge success with his own crime novels, also set in LA. The city is the perfect canvas for a modern mystery, and Crais’ eyes still grow wide when he talks about what Chandler painted on it.\u003c/p>\n\u003cp>“The way Chandler and his language portrayed Los Angeles, portrayed Philip Marlowe, lit me up the way no other fiction prior to that had,” he says.\u003c/p>\n\u003cp>So it’s especially satisfying for Crais when critics describe him as one of Chandler’s natural descendants; but instead of the wryly laconic Marlowe, Crais’ protagonist is a smart-aleck investigator named Elvis Cole.\u003c/p>\n\u003cp>“In the very first book, \u003cem>The Monkey’s Raincoat\u003c/em>, I say this is not his birth name. He was actually named Philip James Cole, but his mother changed his name when he was 6 years old,” Crais says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After Cole’s single, party-girl mother had a blast at an Elvis Presley concert, she came home and legally changed his name to Elvis. Crais says the consequences of that have dogged his PI ever since.\u003c/p>\n\u003cp>“That instability in his early life is something that I thought important,” he says. “That’s one of the reasons he is the way he is. He’s trying to make sense out of the world; he’s trying to make sense of it for himself, and he transfers that to the people he works for.”\u003c/p>\n\u003cp>Cole’s partner and best friend is Joe Pike, essentially Cole’s opposite — as taciturn as Cole is glibly chatty. Cole dresses in colorful Hawaiian shirts, while Pike is black and gray. Cole seems open; Pike is purposefully inscrutable. Crais says Cole’s job is to restore normalcy to his clients’ lives, even as he knows it’s personally unattainable.\u003c/p>\n\u003cp>“He admires normal,” Crais says. “I think, in many ways, Joe Pike does, too. They’re trying to achieve balance and normalcy because they admire it, but they don’t know how to get there. That’s one of the reasons they’re so much fun for me to write.”\u003c/p>\n\u003cp>\u003cstrong>‘Potential For Horror And Nightmare’\u003c/strong>\u003c/p>\n\u003cp>At the mouth of the Venice canals, in LA’s Venice neighborhood, Crais points to large locks that control the flow of water into and out of the waterways. Dozens of these canals were built in the early 1900s in homage to the Italian city that is their namesake. Most were later paved over, but the remaining ones are expensive real estate, lined with colorful homes and fragrant gardens. Crais explains how the neighborhood, and its quirky engineering, played a role in his 2011 novel, \u003ca href=\"http://www.npr.org/books/titles/158998352/the-sentry\" target=\"_blank\" rel=\"noopener\">The Sentry\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>“My notion, of course, in the book was that if there were a body floating in the canals, as the canal drained, it would go downstream and be caught in the locks,” he says. “And that’s one of the devices I used.”\u003c/p>\n\u003cp>Walking along the paths that line the canals, Crais notes how tranquil the neighborhood is: Egrets fish in the reeds at the water’s edge and the quiet is only disturbed by an occasional bark. It’s a good place for things to go wrong.\u003c/p>\n\u003cp>“It’s a natural canvas,” Crais says. “You know, where there is peace and when there is tranquility, there’s always the potential for horror and nightmare.”\u003c/p>\n\u003cp>\u003cstrong>‘Chasing That Dream Of A Better Life’\u003c/strong>\u003c/p>\n\u003cp>Crais’ most recent book, \u003ca href=\"http://www.npr.org/books/titles/146269606/taken\" target=\"_blank\" rel=\"noopener\">Taken\u003c/a>, is set all over the city and out in the desert. It focuses on human trafficking, which Crais says flourishes in LA because of how the city draws all kinds of people with hopes of reinvention.\u003c/p>\n\u003cp>“People come to LA because they’re chasing that dream of a better life,” he says. “That’s why I came here, because I thought it would be a place where I would find other people like me; people who wanted to write, people who had a dream of being something else. And that proved to be true.”\u003c/p>\n\u003cp>Crais has prospered in LA. He was so certain that writing would be his life that he dropped out of Louisiana State University a semester short of graduation, packed his car and drove to Hollywood. His ear for dialogue got him work on television scripts in the ’70s and ’80s — he’s written for \u003cem>Hill Street Blues\u003c/em>, \u003cem>L.A. Law\u003c/em> and \u003cem>Cagney & Lacey\u003c/em> — but novels, especially mysteries, always tugged at him, and eventually he turned his back on a lucrative television career to write books full time. After that, he’s never looked back.\u003c/p>\n\u003cp>Crais’ 18 books, three stand-alone novels and 15 in the Cole-Pike series, have made him financially comfortable — and kind of famous. After all, not many \u003cem>New York Times\u003c/em> best-selling authors can say they’ve had a pizza named after them. Down the street from the canals, in the cafe at Small World Books, where dishes are named for famous writers, waitress Rachel Hanak lists the ingredients of the Robert Crais Pizza: salami, garlic, pepperoni and mushrooms.\u003c/p>\n\u003cp>“It’s really good,” she says.\u003c/p>\n\u003cp>\u003cstrong>‘465 Square Miles Of Insanity’\u003c/strong>\u003c/p>\n\u003cp>In his car, driving up into the Hollywood Hills and Runyon Canyon, Crais points to the kind of house Elvis Cole lives in — a glass-front A-frame with a panoramic view of the Los Angeles Basin. He says he glimpsed a similar house when he first moved to LA, and it became something for him to aspire to.\u003c/p>\n\u003cp>“And, many years later, when I created Elvis Cole, I thought why not put him in a place that had meant so much to me? So I gave him an A-frame house,” Crais says.\u003c/p>\n\u003cp>He also sends Cole and Pike on regular runs through the hills. From up here, the view of the city is stunning. Crais gazes fondly on the houses and apartments; the palm trees and the skyscrapers’ glass windows winking in the distance. LA can be a hard city, but it will always be home for Crais.\u003c/p>\n\u003cp>“There’s the Hollywood sign; there’s Griffith Observatory; there’s the great, amazing Los Angeles Basin,” he says. “It’s 465 square miles of insanity and the best food on the planet.”\u003c/p>\n\u003cp>It’s also a never-ending source of inspiration for one of modern crime’s most admired writers.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003ch3>\u003ca name=\"sidebar\">\u003c/a> \u003cstrong>5 Things You Probably Don’t Know About Robert Crais:\u003c/strong>\u003c/h3>\n\n\u003cp>\u003cstrong>1. He ran away to join the circus when he was a kid.\u003c/strong> He was 13 and his parents let him do it for the summer. He worked as the assistant to the human cannonball, but it didn’t last very long. After he discovered that the alleged explosion was actually an illusion, he decided the paying public needed to know they were being had. “He’s a fake! The human cannonball is a fake!” didn’t go over too well with the circus owners, so they returned Bobby to the bosom of his family. But his sense of justice and fair play lives on in the persona of Elvis Cole.\u003c/p>\n\u003cp>\u003cstrong>2. He was almost an engineer\u003c/strong>, which would have been a tragedy for lovers of crime fiction. He was in the School of Engineering at Louisiana State University, but engineering wasn’t something he wanted to do. He wanted to write, so a semester short of graduation, he dropped out. “It did not go over well on the homefront,” Crais says, “as you can imagine.” Presumably, all is now forgiven.\u003c/p>\n\u003cp>\u003cstrong>3. He doesn’t know what Elvis Cole or Joe Pike look like.\u003c/strong> “I can see their bodies; I can see their movement when I’m writing them, their arms, legs and so forth,” Crais says, “but their faces are always blurs. Probably if I saw their faces, I wouldn’t be able to write them. I don’t know why.”\u003c/p>\n\u003cp>\u003cstrong>4. And he doesn’t want you to, either.\u003c/strong> Crais says he wants his readers to feel free to imagine what Cole and Pike look like for themselves. It’s part of the pleasure of reading, he says: “I don’t do this alone, you know. It’s like a compact between the reader and the writer. Together, we create this experience.” That’s why he won’t ever sell his Cole-Pike novels to Hollywood — not for TV, not for movies. And there \u003cem>have\u003c/em> been several offers. (He does allow the stand-alones to be made, however: \u003cem>Hostage\u003c/em>, a thriller about a beaten-down police negotiator who is called in to try to free a terrorized family, starred Bruce Willis.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>5. He is \u003cem>not\u003c/em>, he insists, Elvis Cole\u003c/strong>. But they do share two important things: the aforementioned sense of justice and fair play, and an unfortunate affinity for some of the loudest, most colorful shirts ever sold. Crais says, “Elvis is not me; he’s his own person, and that’s important to remember. But I do happen to like really colorful shirts — OK, really loud prints. And I thought, ‘Hey, this is something that Elvis could have — my fashion sense.'” Yikes. You’d have to borrow Pike’s sunglasses to look at Crais. (Not sure how you’d take them off him, though. Crais guesses Pike has maybe removed his sunglasses four times in the whole 15-book series.) \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=Robert+Crais%3A+L.A.+Is+%27Natural+Canvas%27+For+Nightmare&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The inimitably witty David Rakoff, \u003ci>New York Times\u003c/i> bestselling author of \u003cb>Don’t Get Too Comfortable\u003c/b>, defends the commonsensical notion that you should always assume the worst, because you’ll never be disappointed.\u003c/p>\n\u003cp>In this deeply funny (and, no kidding, wise and poignant) book, Rakoff examines the realities of our sunny, gosh-everyone-can-be-a-star contemporary culture and finds that, pretty much as a universal rule, the best is not yet to come, adversity will triumph, justice will not be served, and your dreams won’t come true.\u003c/p>\n\u003cp>The book ranges from the personal to the universal, combining stories from Rakoff’s reporting and accounts of his own experiences: the moment when being a tiny child no longer meant adults found him charming but instead meant other children found him a fun target; the perfect late evening in Manhattan when he was young and the city seemed to brim with such possibility that the street shimmered in the moonlight — as he drew closer he realized the streets actually flickered with rats in a feeding frenzy. He also weaves in his usual brand of Oscar Wilde-worthy cultural criticism (the tragedy of Hollywood’s Walk of Fame, for instance).\u003c/p>\n\u003cp>Whether he’s lacerating the musical \u003ci>Rent\u003c/i> for its cutesy depiction of AIDS or dealing with personal tragedy, his sharp observations and humorist’s flair for the absurd will have you positively reveling in the power of negativity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Acclaimed humorist David Rakoff died last week, but his acerbically witty writing lives on. Before you run out to buy all his books, listen to this episode from our archives, in which Rakoff reads from his final book of essays, \u003ci>Half Empty\u003c/i>.",
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"content": "\u003cp>With his 2009 \u003cem>The Interrogative Mood: A Novel?\u003c/em>, Padgett Powell produced one of the most readable literary oddities of the past decade. In that book, a narrator — perhaps the author himself — fired off questions (and \u003cem>only\u003c/em> questions) that come to read less like a novel than a personality test gone haywire: “Should a tree be pruned? Are you perplexed by what to do with underwear whose elastic is spent but which is otherwise in good shape? Do you dance?” And so on, for more than 150 pages.\u003c/p>\n\u003cp>It could have been an exhausting gimmick, but instead Powell’s queries — some direct, others hilariously complex — achieved an intricately constructed randomness. Was it a novel? Maybe, though it lacked most of the things traditional novels have, such as character development, setting, plot. 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There is a setting, sort of, identified in the stage direction that opens the book: “\u003cem>Somewhere between Bakersfield, California, and Jacksonville, Florida — we think spiritually nearer the former and geographically nearer the latter — two weirdly agreeable dudes are on a porch in a not upscale neighborhood, apparently within walking distance of a liquor store, talking a lot\u003c/em>.” Beyond that, it’s pure, 200-proof tete-a-tete, with the two speakers distinguished by nothing except paragraph breaks — no attribution, no character names, and not much character development.\u003c/p>\n\u003cp>In fact, there’s almost no physical action. These two besotted dudes occasionally consider abandoning the porch — “Let’s go down to the creek and stare Despair down” — but they never leave. This, it turns out, is a strength: Distilling his two dudes down to bare dialogue, Powell frees himself to focus entirely on their exchange, which cuts and swerves with an astonishing, off-kilter cadence. His characters might be all talk and no walk, but what wonderful talk it is:\u003c/p>\n\u003cblockquote>\n\u003cp>In what environments should a man have it together? In a chamber of surgery, with a scalpel in hand?\u003c/p>\n\u003cp>Yes. There he should have it together in the extreme.\u003c/p>\n\u003cp>Are there other venues where he should really have it together?\u003c/p>\n\u003cp>No. Let us say he is holding on to the back of a garbage truck and stepping off it as cans of garbage on the curb are approached and swinging these cans of garbage into the truck and setting them down empty, or tossing them any old way, and stepping back on the truck (which has not come to a real stop) as it progresses toward the hundreds or thousands of cans remaining on the route — he does not need to have it together for this, and this is essentially not unlike any other human endeavor on earth just now, except for surgery.\u003c/p>\n\u003c/blockquote>\n\u003cp>Absurd, crude and full of dipso insight, these men hold forth on a number of topics: Jesse Owens, Robert Crumb, flying dogs, Jayne Mansfield’s breasts and their own personal failure (“God wasted two whole spaces on us as human integers. We’re nils in terms of becoming all that we can become”). The surprises here come not through plot development but rapid changes in subject; every time you think you know where they’re headed, they cut into new and strange verbal territory. Discussing whether \u003cem>pustulent\u003c/em> is a word, one says: “I see \u003cem>pestilent\u003c/em> and \u003cem>postulant\u003c/em>, but no \u003cem>pustulent\u003c/em>. You look momentarily like a sloppy vampire when you say it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Where \u003cem>The Interrogative Mood\u003c/em> seemed to be drawing from sources unknown, \u003cem>You & Me\u003c/em> points to a more recognizable influence, most notably Samuel Beckett’s \u003cem>Waiting for Godot\u003c/em>. But even with that guiding light, Powell remains gloriously untethered. His characters are free of family, back story and obligation. 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"title": "Paris, I Love You But You're Bringing Me Down | KQED",
"description": "Rosecrans Baldwin reads a passage from Paris, I Love You But You're Bringing Me Down, his new book that explores living in the Paris of Sarkozy, text-message romances, smoking bans, and a McDonald's beneath the Louvre.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A self-described Francophile from when he was little, Rosecrans Baldwin always dreamed of living in Paris — drinking le café, eating les croissants, walking in les jardins — so when an opportunity presented itself to work for an advertising agency in Paris, he couldn’t turn it down. Despite the fact that he had no experience in advertising. And despite the fact that he barely spoke French. After an unimaginable amount of red tape and bureaucracy, Rosecrans and his wife packed up their Brooklyn apartment and left the Big Apple for the City of Light. But when they arrived, things were not exactly what Rosecrans remembered from a family vacation when he was nine years old.\u003c/p>\n\u003cp>\u003ci>Paris, I Love You but You’re Bringing Me Down\u003c/i> is a nimble comic account of observing the French capital from the inside out. It is an exploration of the Paris of Sarkozy, text-message romances, smoking bans, and a McDonald’s beneath the Louvre — the story of an American who arrives loving Paris all out of proportion, but finds life there to be completely unlike what he expected. Over eighteen months, Rosecrans must rely on his dogged American optimism to get him through some very unromantic situations — at work (writing booklets on how to breast-feed, raise, and nurture children), at home (trying to finish writing his first novel in an apartment surrounded on all sides by construction workers), and at every confusing French dinner party in between. An offbeat update to the expat canon, \u003ci>Paris, I Love You\u003c/i> is a book about a young man finding his preconceptions replaced by the oddities of a vigorous, nervy city — which is just what he needs to fall in love with Paris for the second time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "Summer Books for the 13-Year-Old in Your Life | KQED",
"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/06/13yearold-200.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-129124\" alt=\"lizzy acker and friends at 13 years old\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/06/13yearold-200.jpg\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2012/06/13yearold-200.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2012/06/13yearold-200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2012/06/13yearold-200-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2012/06/13yearold-200-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2012/06/13yearold-200-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2012/06/13yearold-200-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>It’s hard to be 13. For one thing, you know you are an adult, but everyone around you insists on treating you like a baby. For another, your whole body is freaking out and you can’t stop feeling “feelings.” I was 13 in 1995 and 1996 and I grew up without a TV in a town with no mall, so I had no idea how much I was supposed to hate myself. We didn’t have Facebook or 4chan and the only magazines my family subscribed to were \u003ci>The New Yorker\u003c/i>, \u003ci>The Nation\u003c/i>, \u003ci>American Girl\u003c/i>, and \u003ci>National Geographic Kids\u003c/i>. So I was pretty much forced to read for entertainment. But I know plenty of people who grew up with access to cable and \u003ci>Cosmo\u003c/i> and a lot of them agree that it was books that brought them through those terrible early teen years without dating a trucker or experimenting with meth.\u003c/p>\n\u003cp>Books save lives because they allow you to experience a multitude of choices and terrible decisions, without making too many yourself. Books allow you to put on different perspectives and identities like “No Fear” t-shirts and wear them around for a while and then take them off and safely return to your awkward, acne-covered self. No flirting with adult men is required and you don’t even have to leave your bedroom.\u003c/p>\n\u003cp>What follows is an annotated list by category, by me and other once-13-year-old people I spoke with on the phone, over the internet and in person, of books you should send to the 13-year-old in your life straightaway. For the most part, they aren’t kids books. Far from it. When I was 13, I went straight to the adult section of the library and for a while only checked out books with the coy heart symbol on the spine. The librarians in my town were tricky. Heart meant “romance,” which really meant “sex.” So send these books at your own risk, or better yet, send them anonymously, like the letter writer in \u003ci>Sophie’s World\u003c/i>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/06/1984.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-128716 alignleft\" alt=\"1984\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/06/1984.jpg\" width=\"300\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2012/06/1984.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2012/06/1984-180x300.jpg 180w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003cb>Science Fiction, Fear, Allegories and Dystopia!\u003c/b>\u003c/p>\n\u003cp>\u003ci>1984\u003c/i> by George Orwell\u003cbr>\nSince middle school is basically a fascist police state (I once got detention for ALLEDGEDLY writing down people’s locker numbers WITH THEIR PERMISSION, five months after I allegedly wrote them down), this book will make a lot of sense to the average 13-year-old.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>The Giver\u003c/i> by Lois Lowry\u003cbr>\nMentioned by two of my friends, a librarian and a radio producer, \u003ci>The Giver\u003c/i> is about a dystopian future in which you have to tell your parents your dreams every single morning! The horror.\u003c/p>\n\u003cp>\u003ci>Lord of the Flies\u003c/i> by William Golding\u003cbr>\nAnother thing you understand in middle school: the social dynamics of a group of unsupervised hoodlums. That’s basically PE class. This book is always a good reminder that things could be worse.\u003c/p>\n\u003cp>\u003ci>The Martian Chronicles\u003c/i> by Ray Bradbury\u003cbr>\nMy uncle, who is in his 60s, recommended Ray Bradbury, which just goes to show how timeless his work is, since he was one of my favorites too. I would say any of his books work for a 13-year-old, but the one that really kept me up at night, with that delicious-verging-on-too-much-to-handle terror, was \u003ci>The Martian Chronicles\u003c/i>.\u003c/p>\n\u003cp>\u003ci>Hitchhikers Guide to the Galaxy\u003c/i> by Douglas Adams\u003cbr>\nHilarious and brilliant; I quoted \u003ci>Hitchhikers Guide to the Galaxy\u003c/i> in papers all the way through grad school. This book could also easily fall into the “Philosophy of Everything” category.\u003c/p>\n\u003cp>\u003ci>It\u003c/i> by Stephen King\u003cbr>\nI am embarrassed to admit that I have still never actually read a Stephen King book. But my friend Andrea first brought this up in an extensive Facebook conversation with: “I read at least a dozen Stephen King books, maybe more, between the ages of 11-13 because it was the only kind of book either of my parents owned, so if I couldn’t get to the library, that was the only game in town. \u003ci>It\u003c/i> was particularly horrifying and I’m still intensely afraid of clowns.”\u003c/p>\n\u003cp>Another friend agreed saying: “Yes to Stephen King and \u003ci>It\u003c/i> scaring the crap out of a 6th grader.”\u003c/p>\n\u003cp>\u003ci>A Wrinkle in Time\u003c/i> by Madeleine L’Engle\u003cbr>\nThis could also be a classic, because nearly everyone who reads it cites it as a favorite. One friend wrote it taught her that “each of us must be our own hero.”\u003c/p>\n\u003cp>Another friend spoke for all of us when he said it “holds a special place in my brain.”\u003c/p>\n\u003cp>\u003ci>Foundation\u003c/i> by Isaac Asimov\u003cbr>\nAbout this series, a friend (clearly a scientist now) says: “I loved this book because to me, it embodied the potential of the human mind to shape the universe… I love the idea of humankind colonizing the universe; trillions of humans all over the galaxy, hyperspace and so much more.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/06/persepolis-13.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-128717 alignleft\" alt=\"persepolis-13\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/06/persepolis-13.jpg\" width=\"328\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2012/06/persepolis-13.jpg 328w, https://cdn.kqed.org/wp-content/uploads/sites/2/2012/06/persepolis-13-196x300.jpg 196w\" sizes=\"(max-width: 328px) 100vw, 328px\">\u003c/a>\u003cb>True Stories of Harder Lives Than Yours\u003c/b>\u003c/p>\n\u003cp>\u003ci>I Know Why the Caged Bird Sings\u003c/i> by Maya Angelou\u003cbr>\nThere was a time not that long ago in this country when being 13 meant something dramatically different than it means now. Kids should know that. Not everyone grew up on Hannah Montana and Fruit Loops.\u003c/p>\n\u003cp>\u003ci>Persepolis\u003c/i> by Marjane Satrapi\u003cbr>\nAnother recommendation by a librarian. A graphic novel about growing up in Iran during and after the Islamic Revolution. Not just entertaining: important.\u003c/p>\n\u003cp>\u003ci>The Diary of Anne Frank\u003c/i> by Anne Frank\u003cbr>\nThis book is why every single girl writes a diary, so if you love your niece, send it to her and apologize later to her parents when she becomes an English major.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/06/perks.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-128719 alignleft\" alt=\"perks\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/06/perks.jpg\" width=\"357\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2012/06/perks.jpg 357w, https://cdn.kqed.org/wp-content/uploads/sites/2/2012/06/perks-214x300.jpg 214w\" sizes=\"(max-width: 357px) 100vw, 357px\">\u003c/a>\u003cb>Philosophy of Everything\u003c/b>\u003c/p>\n\u003cp>\u003ci>Tao of Pooh\u003c/i> by Benjamin Hoff\u003cbr>\nThis recommendation came from my roommate: “This was my favorite book in seventh or eighth grade… it’s a good book for weird, contemplative types.” That pretty much includes everyone.\u003c/p>\n\u003cp>\u003ci>Sophie’s World\u003c/i> by Jostein Gaarder\u003cbr>\nEverything I know about philosophy I learned from this book. Seriously. I swear it got me out of classes in college.\u003c/p>\n\u003cp>The V. I. Warshawski novels by Sara Paretsky\u003cbr>\nMy friend Carrie writes: “A chick with a gun and a set of picklocks is what stood in for ‘positive lesbian role model’ circa 1994 I guess.”\u003c/p>\n\u003cp>\u003ci>Ricochet River\u003c/i> by Robin Cody\u003cbr>\nThis book has everything and by everything, I mean a realistic portrayals of sex between older teenagers. It’s also a great story.\u003c/p>\n\u003cp>\u003ci>Nick & Norah’s Infinite Playlist\u003c/i> by Rachel Cohn & David Levithan\u003cbr>\nFrom my brother: “There’s a tendency for young adult books to be anti-sexuality, but that’s kind of dumb and kind of counterproductive because teenagers are going to be sexual. This book doesn’t pretend to not be about sex. It has an edge and I think that teenagers need to read stuff that is edgy but isn’t Henry Miller.”\u003c/p>\n\u003cp>\u003ci>The Perks of Being a Wallflower\u003c/i> by Stephen Chbosky\u003cbr>\nFrom another friend (a KQED Arts producer): “Reading \u003ci>Perks\u003c/i> was the first time I remember seeing myself so accurately in the world of fiction. Apparently, I wasn’t the only sexually-repressed bookish boy who liked The Smiths and insisted on falling in love with his female best friend despite being totally gay.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/06/catcher.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-128720 alignleft\" alt=\"catcher\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/06/catcher.jpg\" width=\"346\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2012/06/catcher.jpg 346w, https://cdn.kqed.org/wp-content/uploads/sites/2/2012/06/catcher-207x300.jpg 207w\" sizes=\"(max-width: 346px) 100vw, 346px\">\u003c/a>\u003cb>Classics\u003c/b>\u003c/p>\n\u003cp>\u003ci>Catcher in the Rye\u003c/i> by JD Salinger\u003cbr>\nA writer friend says: “I loved that book so much I made a bracelet out of alphabet beads that said ‘HOLDEN.'”\u003c/p>\n\u003cp>I say this book should not be read in school, since it’s basically about what a waste of time school is. Much better to receive it anonymously, wrapped in brown paper that smells like cigarettes. Better yet to just find it on a park bench, left by a hobo.\u003c/p>\n\u003cp>\u003ci>Wuthering Heights\u003c/i> by Emily Bronte\u003cbr>\nOh romance on the heath! This was actually one of my two favorite books in eighth grade (see below for my first favorite). I partially blame my continued belief in the power of unrequited love on this book.\u003c/p>\n\u003cp>\u003ci>A Tree Grows in Brooklyn\u003c/i> by Betty Smith\u003cbr>\nMy absolute favorite at 13. More unrequited love. The beginning of the end, in terms of me only trusting books with unhappy endings.\u003c/p>\n\u003cp>\u003cb>Honorable Mention: Authors\u003c/b>\u003c/p>\n\u003cp>Sometimes, you just have to set a kid loose in the library. Here are a few author suggestions to text to the 13-year-old in your life: J.R. R. Tolkien, Ursula K. Le Guin, John Irving, Kurt Vonnegut, Judy Blume.\u003c/p>\n\u003cp>So, what more do you need? Save a life. Buy the kid in your life a good book and don’t worry too much when they tell you they hate you and storm off in a rage. It’ll pass and with your help, they will reach their later teens without alcohol poisonings or pregnancy.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Special thanks the many book-loving friends who took the time to talk/write to me and are quoted above: Mike Acker, John Bishop Jr., Jocelynn Cambier, Laura Caygil, Deirdre Costello, Audrey Dilling, Lizzie Parsons Figueroa, Jesse Geller, Erica Goleman, Emmanuel Hapsis, Suzanne Kleid, Andrea Kneeland, Carrie Leilam Love, Zach Powers, Derek Taylor, Will Wallace and Sara Wingate Gray.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/06/13yearold-200.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-129124\" alt=\"lizzy acker and friends at 13 years old\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/06/13yearold-200.jpg\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2012/06/13yearold-200.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2012/06/13yearold-200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2012/06/13yearold-200-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2012/06/13yearold-200-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2012/06/13yearold-200-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2012/06/13yearold-200-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>It’s hard to be 13. For one thing, you know you are an adult, but everyone around you insists on treating you like a baby. For another, your whole body is freaking out and you can’t stop feeling “feelings.” I was 13 in 1995 and 1996 and I grew up without a TV in a town with no mall, so I had no idea how much I was supposed to hate myself. We didn’t have Facebook or 4chan and the only magazines my family subscribed to were \u003ci>The New Yorker\u003c/i>, \u003ci>The Nation\u003c/i>, \u003ci>American Girl\u003c/i>, and \u003ci>National Geographic Kids\u003c/i>. So I was pretty much forced to read for entertainment. But I know plenty of people who grew up with access to cable and \u003ci>Cosmo\u003c/i> and a lot of them agree that it was books that brought them through those terrible early teen years without dating a trucker or experimenting with meth.\u003c/p>\n\u003cp>Books save lives because they allow you to experience a multitude of choices and terrible decisions, without making too many yourself. Books allow you to put on different perspectives and identities like “No Fear” t-shirts and wear them around for a while and then take them off and safely return to your awkward, acne-covered self. No flirting with adult men is required and you don’t even have to leave your bedroom.\u003c/p>\n\u003cp>What follows is an annotated list by category, by me and other once-13-year-old people I spoke with on the phone, over the internet and in person, of books you should send to the 13-year-old in your life straightaway. For the most part, they aren’t kids books. Far from it. When I was 13, I went straight to the adult section of the library and for a while only checked out books with the coy heart symbol on the spine. The librarians in my town were tricky. Heart meant “romance,” which really meant “sex.” So send these books at your own risk, or better yet, send them anonymously, like the letter writer in \u003ci>Sophie’s World\u003c/i>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/06/1984.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-128716 alignleft\" alt=\"1984\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/06/1984.jpg\" width=\"300\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2012/06/1984.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2012/06/1984-180x300.jpg 180w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003cb>Science Fiction, Fear, Allegories and Dystopia!\u003c/b>\u003c/p>\n\u003cp>\u003ci>1984\u003c/i> by George Orwell\u003cbr>\nSince middle school is basically a fascist police state (I once got detention for ALLEDGEDLY writing down people’s locker numbers WITH THEIR PERMISSION, five months after I allegedly wrote them down), this book will make a lot of sense to the average 13-year-old.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>The Giver\u003c/i> by Lois Lowry\u003cbr>\nMentioned by two of my friends, a librarian and a radio producer, \u003ci>The Giver\u003c/i> is about a dystopian future in which you have to tell your parents your dreams every single morning! The horror.\u003c/p>\n\u003cp>\u003ci>Lord of the Flies\u003c/i> by William Golding\u003cbr>\nAnother thing you understand in middle school: the social dynamics of a group of unsupervised hoodlums. That’s basically PE class. This book is always a good reminder that things could be worse.\u003c/p>\n\u003cp>\u003ci>The Martian Chronicles\u003c/i> by Ray Bradbury\u003cbr>\nMy uncle, who is in his 60s, recommended Ray Bradbury, which just goes to show how timeless his work is, since he was one of my favorites too. I would say any of his books work for a 13-year-old, but the one that really kept me up at night, with that delicious-verging-on-too-much-to-handle terror, was \u003ci>The Martian Chronicles\u003c/i>.\u003c/p>\n\u003cp>\u003ci>Hitchhikers Guide to the Galaxy\u003c/i> by Douglas Adams\u003cbr>\nHilarious and brilliant; I quoted \u003ci>Hitchhikers Guide to the Galaxy\u003c/i> in papers all the way through grad school. This book could also easily fall into the “Philosophy of Everything” category.\u003c/p>\n\u003cp>\u003ci>It\u003c/i> by Stephen King\u003cbr>\nI am embarrassed to admit that I have still never actually read a Stephen King book. But my friend Andrea first brought this up in an extensive Facebook conversation with: “I read at least a dozen Stephen King books, maybe more, between the ages of 11-13 because it was the only kind of book either of my parents owned, so if I couldn’t get to the library, that was the only game in town. \u003ci>It\u003c/i> was particularly horrifying and I’m still intensely afraid of clowns.”\u003c/p>\n\u003cp>Another friend agreed saying: “Yes to Stephen King and \u003ci>It\u003c/i> scaring the crap out of a 6th grader.”\u003c/p>\n\u003cp>\u003ci>A Wrinkle in Time\u003c/i> by Madeleine L’Engle\u003cbr>\nThis could also be a classic, because nearly everyone who reads it cites it as a favorite. One friend wrote it taught her that “each of us must be our own hero.”\u003c/p>\n\u003cp>Another friend spoke for all of us when he said it “holds a special place in my brain.”\u003c/p>\n\u003cp>\u003ci>Foundation\u003c/i> by Isaac Asimov\u003cbr>\nAbout this series, a friend (clearly a scientist now) says: “I loved this book because to me, it embodied the potential of the human mind to shape the universe… I love the idea of humankind colonizing the universe; trillions of humans all over the galaxy, hyperspace and so much more.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/06/persepolis-13.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-128717 alignleft\" alt=\"persepolis-13\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/06/persepolis-13.jpg\" width=\"328\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2012/06/persepolis-13.jpg 328w, https://cdn.kqed.org/wp-content/uploads/sites/2/2012/06/persepolis-13-196x300.jpg 196w\" sizes=\"(max-width: 328px) 100vw, 328px\">\u003c/a>\u003cb>True Stories of Harder Lives Than Yours\u003c/b>\u003c/p>\n\u003cp>\u003ci>I Know Why the Caged Bird Sings\u003c/i> by Maya Angelou\u003cbr>\nThere was a time not that long ago in this country when being 13 meant something dramatically different than it means now. Kids should know that. Not everyone grew up on Hannah Montana and Fruit Loops.\u003c/p>\n\u003cp>\u003ci>Persepolis\u003c/i> by Marjane Satrapi\u003cbr>\nAnother recommendation by a librarian. A graphic novel about growing up in Iran during and after the Islamic Revolution. Not just entertaining: important.\u003c/p>\n\u003cp>\u003ci>The Diary of Anne Frank\u003c/i> by Anne Frank\u003cbr>\nThis book is why every single girl writes a diary, so if you love your niece, send it to her and apologize later to her parents when she becomes an English major.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/06/perks.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-128719 alignleft\" alt=\"perks\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/06/perks.jpg\" width=\"357\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2012/06/perks.jpg 357w, https://cdn.kqed.org/wp-content/uploads/sites/2/2012/06/perks-214x300.jpg 214w\" sizes=\"(max-width: 357px) 100vw, 357px\">\u003c/a>\u003cb>Philosophy of Everything\u003c/b>\u003c/p>\n\u003cp>\u003ci>Tao of Pooh\u003c/i> by Benjamin Hoff\u003cbr>\nThis recommendation came from my roommate: “This was my favorite book in seventh or eighth grade… it’s a good book for weird, contemplative types.” That pretty much includes everyone.\u003c/p>\n\u003cp>\u003ci>Sophie’s World\u003c/i> by Jostein Gaarder\u003cbr>\nEverything I know about philosophy I learned from this book. Seriously. I swear it got me out of classes in college.\u003c/p>\n\u003cp>The V. I. Warshawski novels by Sara Paretsky\u003cbr>\nMy friend Carrie writes: “A chick with a gun and a set of picklocks is what stood in for ‘positive lesbian role model’ circa 1994 I guess.”\u003c/p>\n\u003cp>\u003ci>Ricochet River\u003c/i> by Robin Cody\u003cbr>\nThis book has everything and by everything, I mean a realistic portrayals of sex between older teenagers. It’s also a great story.\u003c/p>\n\u003cp>\u003ci>Nick & Norah’s Infinite Playlist\u003c/i> by Rachel Cohn & David Levithan\u003cbr>\nFrom my brother: “There’s a tendency for young adult books to be anti-sexuality, but that’s kind of dumb and kind of counterproductive because teenagers are going to be sexual. This book doesn’t pretend to not be about sex. It has an edge and I think that teenagers need to read stuff that is edgy but isn’t Henry Miller.”\u003c/p>\n\u003cp>\u003ci>The Perks of Being a Wallflower\u003c/i> by Stephen Chbosky\u003cbr>\nFrom another friend (a KQED Arts producer): “Reading \u003ci>Perks\u003c/i> was the first time I remember seeing myself so accurately in the world of fiction. Apparently, I wasn’t the only sexually-repressed bookish boy who liked The Smiths and insisted on falling in love with his female best friend despite being totally gay.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/06/catcher.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-128720 alignleft\" alt=\"catcher\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/06/catcher.jpg\" width=\"346\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2012/06/catcher.jpg 346w, https://cdn.kqed.org/wp-content/uploads/sites/2/2012/06/catcher-207x300.jpg 207w\" sizes=\"(max-width: 346px) 100vw, 346px\">\u003c/a>\u003cb>Classics\u003c/b>\u003c/p>\n\u003cp>\u003ci>Catcher in the Rye\u003c/i> by JD Salinger\u003cbr>\nA writer friend says: “I loved that book so much I made a bracelet out of alphabet beads that said ‘HOLDEN.'”\u003c/p>\n\u003cp>I say this book should not be read in school, since it’s basically about what a waste of time school is. Much better to receive it anonymously, wrapped in brown paper that smells like cigarettes. Better yet to just find it on a park bench, left by a hobo.\u003c/p>\n\u003cp>\u003ci>Wuthering Heights\u003c/i> by Emily Bronte\u003cbr>\nOh romance on the heath! This was actually one of my two favorite books in eighth grade (see below for my first favorite). I partially blame my continued belief in the power of unrequited love on this book.\u003c/p>\n\u003cp>\u003ci>A Tree Grows in Brooklyn\u003c/i> by Betty Smith\u003cbr>\nMy absolute favorite at 13. More unrequited love. The beginning of the end, in terms of me only trusting books with unhappy endings.\u003c/p>\n\u003cp>\u003cb>Honorable Mention: Authors\u003c/b>\u003c/p>\n\u003cp>Sometimes, you just have to set a kid loose in the library. Here are a few author suggestions to text to the 13-year-old in your life: J.R. R. Tolkien, Ursula K. Le Guin, John Irving, Kurt Vonnegut, Judy Blume.\u003c/p>\n\u003cp>So, what more do you need? Save a life. Buy the kid in your life a good book and don’t worry too much when they tell you they hate you and storm off in a rage. It’ll pass and with your help, they will reach their later teens without alcohol poisonings or pregnancy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Special thanks the many book-loving friends who took the time to talk/write to me and are quoted above: Mike Acker, John Bishop Jr., Jocelynn Cambier, Laura Caygil, Deirdre Costello, Audrey Dilling, Lizzie Parsons Figueroa, Jesse Geller, Erica Goleman, Emmanuel Hapsis, Suzanne Kleid, Andrea Kneeland, Carrie Leilam Love, Zach Powers, Derek Taylor, Will Wallace and Sara Wingate Gray.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"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.",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "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",
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"perspectives": {
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"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",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
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},
"pri-the-world": {
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"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",
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},
"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",
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},
"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/",
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"source": "npr"
},
"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"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.",
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"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
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